71 896 49286
SHOCK TREATMENT: The ROCKY HORROR Sequel
COLLECTOR'S EDITION #27
r
January 1982 $2.50
UK 90P
PREVIEWING:
jnrr ~\r r , p
THE MOVIE
Also In This Issue:
• RAIDERS OF
THE LOST ARK
• OUTLAND
• GALAXY OF TERROR
• SHOCK TREATMENT
• SATURDAY THE 14TH
— Plus —
• THE AMAZING ART
OF JIM STERANKO
• THE COMPLETE
HOLIDAY SF&
FANTASY GIFT
CATALOGUE
A SHAMBERG GREISMAN PRODUCTION A KEN SHAPIRO FILM
CHEVY CHASE
MODERN PROBLEAAS
PATTI D ARBANVILLE- AAARY KAY PLACE Brian doyle Murray -nell carter™ [ DABNEY COL f MAN
Executive Producer DOUGLAS C. KENNEY Produced by ALAN GREISMAN and
MICHAEL SHAMBERG Written by KEN SHAPIRO & TOM SHEROHMAN & ARTHUR SELLERS
Directed by KEN SHAPIRO Music by DOMINIC FRONTIERE color by deluxe® /''T'x
' ©1981 TWENTIETH CENTURY-fOX / \
COMING TO THEATRES EVERYWHERE CHRISTMAS DAY
DATA BANK by Blake Mitchell and Jim Ferguson
A look at what’s happening in the world of films,
theater, literature, conventions and fandom
SWAMP THING: FROM THE
COMICS TO THE SILVER SCREEN ARTICLE by Jack Harris 8
Producer Mike Uslan talks about the upcoming
movie and how he fought to keep it authentic
GALAXY OF TERROR MEETS
SATURDAYTHE14TH ... ARTICLE by Blake Mitchell and Jim Ferguson 15
The Cormans, Roger and Julie, team up to produce
this double feature of the frightening and farcical
SPECIAL HOLIDAY GIFT CATALOGUE 17
Fantastic Films offers its readers one of the most
complete science fiction and fantasy products cat-
alogues available as a guide for gift giving during
the holiday season.
THE NEW WORLD SPFX TEAM .... INTERVIEW by Ken Bussanmas 49
An interview with Gene Turnbow and
Tony Tremblay from Galaxy of Terror
RAIDERS OF THE LOST ARK AND
OUTLAND ART: AN ILLUSTRATED
INTERVIEW WITH JIM STERANKO INTERVIEW byDouglas Rice 50
The editor, art director, publisher of Prevue Magazine
speaks graphically about his multi-faceted career
SHOCK TREATMENT: NOT A SEQUEL
BUT AN EQUAL ..... ARTICLE by Blake Mitchell and Jim Ferguson 56
The producers of The Rocky Horror Picture Show have a new
cinematic offering to challenge the boundaries of the bizarre.
V
\
EDITOR/ART DIRECTOR
Michael Stein
CONTRIBUTING
{ EDITORS
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RUSSELL AND CARPENTER
AND THE THING . . . After John
Carpenter and his buddy Kurt
Russell, aka Snake Pliskin, fin-
ished laying waste to the "Big
Apple,” you would think they would
take a rest. But no, not this restless
team of city destroyers. They’ve
packed up their helicopters and
headed for the Great White Place—
Alaska. Carpenter, for his next
project, has taken on the Howard
Hawks-Christian Nyby1951 SFX
suspenser The Thing. Carpenter
is quick to emphasize “we are
going back to the original story. . .
Don A. Stuart’s 1 938 Who Goes
There? . . . and we’re going out the
door with the monster. Howard
Hawks found himself a good story,
but he threw out the real nature of
the monster and went in another
direction with it. Although some
things are the same, this is very
different in tone, and we’re going
to try to do things that haven’t
been done before.” This time out,
following the lines of the original
story, the alien will be able to
assume any shape or identity. As
the director explains, "Whatever it
eats, it can absorb and imitate
and take on its form. Within a few
weeks it could imitate the entire
world.” Shooting of the $13 mil-
lion production will consist of five
distinct phases. The first leg, a
helicopter chase done over an
icefield near Juneau, has already
been done. Interiors commenced
in August and will continue
through October at the Universal
lot. During this time the “Monster
Unit” headed by Rob Howling
Botin will be working on accom-
panying sets. A full-scale camp is
being built at Stewart, B.C. on the
Alaska border. The entire com-
pany will head therein November
for a two to five week shoot de-
pending on the weather. Final
filming will involve final work with
special effects and inserts of the
creature, all of which will hope-
fully be done by the end of the
year. Albert Whitlock will handle
the special effects and Dean
Cundey is director of photography.
A summer, 1 982 release is
scheduled. •
WHO INVITED YOU? OR SNAKE
1 — HARRISON 0 . . . Hosting a
small get-together for some friends
on the patio of his Hollywood
home, Harrison Ford found him-
self forced to evict an unwanted
guest. It is reported that a small,
garden-variety snake wandered
across the patio. Harrison, adopt-
ing his best Indiana Jones per-
sona, stepped forward to do battle
with the curious reptilian intruder.
Now, it is a well known fact that it
is extremely difficult to hurry a
snake or maybe this one just
hadn't seen Raiders of the Lost
Ark because pushed it would not
be. In fact before the little hisser
could be convinced to depart, it
managed to take an angry swipe
WILL MR. COLUMBU PLEASE STAR TREK, THE TRUE STORY,
GET HIS TIGER OUT OF THE STRAIGHT FROM THE TRIB-
POOL . . . Franco Columbu, ex- BLES MOUTH? . . . Nicholas
Mr. Universe, is back from filming Meyer has been signed to direct
Conan, the Barbarian in Spain Star Trek II with production slated
with pal Arnold Schwarzenegger, to begin in November. The issue
and although the song is over, the of whether the sequel to the suc-
melody lingers on. It seems that cessful Star Trek, the Motion Pic-
Columbu’s costume for the pic ture will be a telefilm or theatrical
entailed one small loincloth and release has finally been resolved,
one very large tattoo of a giant Paramount Pictures Corp. will
saber-tooth tiger. “They told me it supervise the feature which is
would come off withh alcohol," scheduled for theatrical release
says Franco, after submitting to in the summer of ‘82. The project,
the five-hour paint job. “After five to be produced by Harve Bennett
days, it didn’t come off. What the is budgeted at under $1 0 million
hell is going on?” he would ask. and is scheduled for two months
Only to be told, “Don’t worry.” of principal photography. Meyer,
Once back in LA Franco did as who scripted The Seven Percent
they suggested. He may have' Solution and both wrote and di-
stopped worrying but other pa- rected Time After Time, will direct
trons around the pool seem to from a screen play by Jack Sow-
have taken up the chore. At press ards, Sam Peeples and Harve
time we are told the tiger is finally Bennett. Bill Shatner and Leonard
beginning to fade which is good Nimoy have already been signed
because when Franco is not and additional cast members,
acting, he is a practicing chiro- both old and new, will be an-
practor. Pity the poor patient who nounced shortly. All that is being
shows up for a little back cracking told about the story thus far is that
and finds his doctor in loincloth it concerns the return of an old
and tattoo. adversary of Captain Kirk’s. Spe-
- - - ■ - cial effects by Industrial Light
Arnold Schwarzenegger as Conan. and Magic.
A LOOK AT WHAT'S HAPPENING IN THE
WORLD OF FILMS, THEATRE, LITERATURE,
CONVENTIONS AND FANDOM.
and JAMES FERGUSON
guideline for the set designs in Ridley Scott’s Bladerunner.
at the actor’s fingers. Harrison is
doing fine. The snake was un-
available for comment As if being
attacked by your critics in your
own backyard weren’t bad enough,
Harrison is said to report that his
newest film Bladerunner is the
toughest of them all. “I want it to
be over, sure, but I want it to be
good.” He adds, “director Ridley
Scott is making it that good. He’s
particular and demanding and
that’s great.” Ford also reveals he
has signed for two sequels to his
Raiders of the Lost Ark and that
he wants the next Ark to include
ELEPHANTS. If you can get a
Wookie into a Falcon, why not
elephants into an ark?
Illustration by Michael Stein
1 1 THINK THE
SNAKE HAS
POSSIBILITIES,
BRADBURY FINDS A WAY TO
GO HOME AGAIN . . . Something
Wicked This Way Comes, a Ray
Bradbury novel which began
filming in September on the Walt
Disney lot, is a dream come true
for both Ray— he’s spent 23 years
trying to get the novel filmed—
and for producer Peter Douglas,
who has always wanted to shoot
a movie with total built-in controls
on a studio lot. Wicked, budgeted
at $13.5 million, has used %2'h
million on set construction alone.
Disney’s newly rebuilt back lot
will serve as the ageless town in
the story, derived from Ray’s own
memories of his childhood town
in northern Illinois. The story,
which on one level is a metaphor
for being born, growing old and
finally dying, focuses on two 1 2-
year-old boys and their adven-
tures with a mysterious carnival.
Jason Robards has been cast as
the father of one of the boys but
they are still looking for additional
youths for central roles. They are
also seeking, according to Douglas,
“a kind of erotic, hauntingly beau-
tiful woman” to play the witch to
the villain Mr. Dark, who is also, as
yet, uncast.
2001, CEYLON STYLE OR
CLARKE TO HIT BIG SCREEN
AGAIN . . . Avatar will be a science
fiction film which details an all
powerful alien who lands in a
small Bengali village and the
subsequent reaction of the local
inhabitants to his presence. Says
producer Leonard M. Tillem, "the
current plan is to start lensing in
Northern India in September,
1 982.” Set to co-script the original
screenplay is Arther C. Clarke and
Indian filmmaker Satyijat Ray.
“The project came about through
Clarke, who lives in Ceylon,” Tillem
explains. "He introduced me to
Ray, who stated that he wished to
make a film in English, and shortly
thereafter, Clarke signed on to
work on the rewrites.” The film is
budgeted at $8.5 million.
ANOTHER EPISODE IN THE
CONTINUOUS ALIEN DRAMA.
. . The author of the screenplay of
the 20th Century Fox horror/SFX
hit of a few summers ago, Alien, is
suing another science fiction
author for over half a million dol-
lars for violating a written agree-
ment. The settlement, of a previous
(Continued on next page)
OCTOPUSSY ... AN EIGHT
LEGGED CAT? . . . Not really.
According to United Artists,
Octopussy is the next James Bond
film for which they have just
authorized a $25 million dollar
outlay. This latest Ian Fleming
story to go before the cameras
surfaced posthumously in the
London Daily Express and later
was published by Playboy. Many
Fleming fans will recall that like
For Your Eyes Only, Octopussy is
from a short story collection of
which there are still six unpro-
duced works, all of which may
eventually come to the screen.
Although the official UA an-
nouncement did not mention that
Roger Moore would be back in
his familiar starring role, that
casting appeared to be all but a
fait accompli. When discussing
this possibility with Moore, he saw
no likely obstacles. Barring the
unforeseen, Octopussy will be re-
leased in the summer of 1 983.
Roger Moore in classic Bond pose.
DONNIE AND MARIE IN OUTER scientific and technical consul-
SPACE?. . . A group of Osmond tants. “What we’ve gathered is the
TV officials have been working on mainstream thought of the world’s
a planned ABC-TV miniseries top futurists as to what the nature
called The People of the Earth of life will be in the first half of the
2000. Sources at Osmond say 21st century,” Barry said. The
they have been working with NASA script has been in the works for
scientists on the miniseries which three years. Cost of the miniseries
will follow three generations of a is projected to be ten million dol-
trio of American families from the lars. Barry calls it “Osmond’s most
year 1 995 to 2037. Gerald di Pago ambitious project of any kind and
is currently prepping the final TV’s most ambitious dramatization
script. He’s based it on a body of of the future.” Osmond is devel-
research provided by both pro- oping the seven-hour project for
ducer Gael Phillips and other a planned spring, 1 982 airing.
6
legal bout, stipulated that the
author of Alien, Daniel O’Bannon,
would pay A. E. VanVogt the sum
of $50,000 to release O’Bannon
from liability in connection with
claims VanVogt made about the
authorship of the Alien story. The
agreement hinged on the stipula-
tion that VanVogt never reveal the
details of the settlement. Specif-
ically, O’Bannon claims that
VanVogt and his agent violated
the agreement by sending a letter
to the Science Fiction Chronicle,
which was published on the front
page of the publication in No-
vember of 1 980. The letter alleg-
edly revealed the details.
SKYWALKER WILL HAVE TO
LEAVE HOME WITHOUT IT . . .
For years celebs from all fields
have been telling anyone who
would listen that it was very unwise
to leave home without your Amer-
ican Express card. The most
recent star to take up this chant is
Mark “Skywalker” Hamill. After
wrapping his segment of this
popular commercial in New York,
Mr. Hamill decided that he should
take this advice himself. Sky-
walker may have a great batting
average in space, but on Earth . . .
or maybe the people at American
Express just don't watch their own
commercials, because unlike the
Wookie, he didn’t win and was
turned down for the card. Hope-
fully the American Express people
will see the error of their ways,
‘cause if they don’t does this mean
Luke will never travel again?
TIDBITS. . . Robert Gordon and
Doris Fendel have acquired an
option on Theodore Sturgeon’s
SFX classic More Than Human.
Gordon, editor of The Blue Lagoon ,
reports that Sturgeon has been
signed to adapt his own novel for
the screen . . . Blake Pink Panther
Edwards next film will be a "moral
outer-space comedy” entitled, so
far, Far Out. . . Michael China
Syndrome Douglas has just closed
a deal with Warner Brothers to
launch a multimillion dollar Star
Man SFX pic. The story is said to
be about a man from another
planet secretly making it on this
globe as an Earthman . . . Dick
Clark of American Bandstand
fame says that he would like to
make a Muppet-like movie that
had more appeal for the young
adult audiences, unlike the cur-
rent Muppet antics. How would
he do this? Simple . . . ditch the
frog and that pig and invent some
characters young adults could
identify with, like gang members
or pool hall jockeys. He would
also like to spice things up with a
little salty language and maybe
even some steamy romance, real
R-rated stuff. A 1 5-minute test reel
is being produced now. Henson
is reserving comment until he sees
the reel. ■
[SATURDAY 14THJ
*~~(Continued from page 54J
ing to intercept Van Helsing's vic-
tory. Seething at the sight of his
adversaries, Van Helsing makes
a lunge and succeeds in grabbing
the book. In a flash of smoke,
both he and the book disappear
from sight as everyone stands by
terrified. An instant later, all traces
of evil have vanished from the
house, and suburban tranquility
is restored to the estate.
Once it was decided that the
film would be shot entirely on
location, Julie Corman knew just
whom to contact. Doug Carlton,
President of "Keep Old Los An-
geles" reported, "Julie wanted to
shoot in the old Wilcox Mansion
in the downtown Los Angeles area.
Julie had previously shot another
feature there and knew with a
little bit of extra cobwebbing, its
beautiful woodwork, leaded glass
windows, hammered tin roof, and
“aura” that surrounds a house
built in 1889 would definitely
benefit the dilapidated old man-
sion described in Cohen’s script"
Tight scheduling commanded
around the clock work at the loca-
tion. A special effects studio was
set up in the basement, and since
rooms were used for more than
one set, redressing often took
place during the night. It wasn't
uncommon for both shooting units
to be working simultaneously
within the house.
Julie Corman was born in
Nebraska, attended high school
in St. Louis, Missouri, and later
moved to Los Angeles where she
earned a degree in English from
UCLA After graduating she worked
at Carson Roberts as an adver-
tising trainee, then worked at the
Los Angeles Times. On a freelance
basis she scouted locations and
did research for films before de-
ciding to work in production full
time.
In 1 972 Julie was the associate
producer on AlP’s Boxcar Bertha
and as a member of the Board of
Directors of New World Pictures
she was one of the founders in
the early 70’s. She has produced
eight pictures including Crazy
Mama and The Lady in Red for
New World, and Moving Violation
for 20th Century Fox
Currently in development is
Nightfall from the Isaac Asimov
short story which she will also
produce. □
The Cormans, like other estab-
lished Hollywood teams, will no
doubt be with us for a long time to
come. One can only wonder, after
seeing their past and present ef-
forts, what a film might be like
which they worked on together.
Maybe someday we will see such
a project. For all of us SF and
horror film fans, its something to
definitely look forward to. ■
I S-TREATMENT I
(Continued from page 58)
hunchbacked handyman of Tran-
sylvania who hails from the planet
Transexual.
O’Brien the actor has a field
day as Cosmo McKinley, Den-
tonvale's head shrink. “Cosmo is
a phony,” comments O’Brien,
“just because he’s got a ‘Dr.’ be-
fore his name he feels he can
cure people. But he’s the one
who needs curing. He’s a won-
derfully corrupt blend of lunacy
and larceny. A would-be inmate
who, literally, is running the asylum.”
The same might be said of*
Cosmo’s sister, Nation McKinley,
played by Patricia Quinn. "That’s
right, folks, we’re together again,"
quips Quinn who co-starred with
O'Brien in both versions of Rocky
Horror playing Magenta, Riff Raff’s
incestuous sibling.
“Nation is a somewhat different
character,” the actress notes.
“She’s all terribly clean and healthy
on the outside at least. But inside
she’s rotten to the core. If she
wasn't, I never would have been
cast. I'm always cast as a baddy. I
don’t know why. I’m really a very
lovely person.”
Also reunited with O’Brien are
Rocky Horror troupers Charles
Gray, Nell Campbell and Jeremy
Newson.
Gray, a distinguished British
character actor, won an entirely
new and decidedly rowdier fol-
lowing through his appearance
as the criminologist in The Rocky
Horror Picture Show. In Shock
Treatment, Gray is Denton TV’s
favorite egghead, Judge Oliver
Wright, a specialist in "in-depth
discussions.”
"I never expected to be the ob-
ject of a cult,” the stentorian Gray
remarks with amusement, adding
that he’s never even seen Rocky
Horror. “I never see any of my
films," the actor laughs. "It's quite
a shock, all the madness that’s
erupted around the whole Rocky
Horror phenomenon.
Nell Campbell who played Co-
lumbia, the Transylvanian groupie
in the stage and screen companies
of Rocky turns up in Shock as
Ansalong, a nurse in the Denton-
vale booby hatch. Campbell’s
career is straight out of an old
MGM musical. Dressed up in top
hat and tails, singing and tapping
away like Ann Miller, Campbell
performed her routine on the
streets of London’s theatre district,
hoping to catch the eye of anyone
who would give her a break. Di-
rector Jim Sharman saw her, cast
her and the rest is history.
Jeremy Newson is the only
member of Shock Treatment cast
recreating the same role he played
in Rocky. As Ralph Hapschatt, he
is the emcee of the “Faith Factory,"
Denton’s inspirational program
devoted to mental health.
The station’s other favorite em-
cee is BertSchnick, host of “Mar-
riage Maze.” Australia's Barry
Humphries plays Bert like a silent
film villain of the German cinema
of the 1 920’s, a Dr. Caligari. “He’s
a highly expressionistic character,
a blind, Viennese-born game show
host. Right away you know he's
not rooted in any reality of any
kind, except his own,” O’Brien
says of the actor. With Shock,
Humphries’ one-of-a-kind comic
talents will be brought, for the first
time, to the international motion
picture audiences,
“ Shock Treatment shows a car-
toon world of television-influenced
lifestyles and media manipula-
tion," says director Sharman. “By
presenting our TV images, situa-
tions and characters, we’re not
trying to avoid reality. Rather, we’re
giving a new perspective on what
is served up every day by the
media as reality.”
"When we initially conceived
Shock Treatment, Brad and Jan-
et's home was a real place,” adds
author O’Brien. “The Dentonvale
sanitarium was real. Everything
was real. The film was set in an
American suburb and we were
going to shoot as much as we
could on location in the U.S.A.
But then the Screen Actors strike
intervened and it turned out to be
a stroke of good luck. We had to
film the picture in England but
since we couldn’t recreate Amer-
ican locations there, the movie
had to be shot in a studio. It was
then that we came up with the
idea of setting the whole produc-
tion inside a TV studio, and making
the entire film look like it was shot
off a television soundstage.”
Observes producer John Gold-
stone: "We are so influenced by
the media. The way we dress, the
way we talk, our behavior, values
and dreams, that to a very real
extent, the whole world has be-
come one big TV show.”
No one knows that better than
Cliff DeYoung: “Years ago I was a
regular on The Secret Storm and I
invited my mother-in-law to visit
the set because it was her favorite
soap. She was very excited until
she actually got to the studio and
watched us tape the show. Her
reaction was far from what I antic-
ipated. I asked her why she was
so disappointed and she said,
‘You ruined the show for me.’”
"She was so hooked on the
show, she thought it was real. But
when she saw the actors getting
ready, putting on their makeup,
running line and the cameras rol-
ling around, it totally destroyed
the reality she had going on in her
head."
"Our film is going to bring that
out," DeYoung continues. "Every
part of life in Shock Treatment is
in the context of a TV show.”
Perhaps the best way to sum up
Shock Treatment can be found in
this statement from Mike Franket,
the manager of the Man Ray Cin-
ema in Belmar, New Jersey,
shortly after the wedding of two
Rocky Horror fans, Nicole Njcotra
and Joseph Zwart, just before the
midnight showing of the film: “When
you show Rocky Horror you’ve
got to be readyfor anything." Hang
on Mike, there's an “equal” coming
at ya. ■
l' lW >4CV
science fiction.
P .0. B° X ^.t 5 ILLINOIS 61054
MIT. WIORB'S- 1LUN
- 1] 5'°° P er year (Canadian) Name
I $2300 per year (Foreign) Address
OR CALL TOLL FR EE Enclo3 e d
1 " 80 ° n-800-892-0753) interbank No
Cit * Stat6 ' r ^ he ^^^ abl " me0r0ha,9e(0n,y
is my □ cnee £xp Date __
QVisaO MasterCharge
FANTASTIC FILMS PREVIEW:
Article by
JACK HARRIS
F rom the mist enshrouded
dampness of a South Car-
olina swamp comes . . . the
Swamp Thing, a new and unique,
movie monster who is given life
under the direction of Wes ( Last
House on the Left, The Hills Have
Eyes) Craven and is produced by
the newly-formed team of Ben-
jamin Melniker and Michael Uslan.
While being unique in both
appearance and style, the Swamp
Thing is also a swampy step away
from the "usual" film creature in
that he has a strong and loyal
army of fans already established .
. . fans who have thrilled to his
adventures long before cameras
beganto roll in the misty southern
swamps! But these were not movie
fans ... at least not yet. The
Swamp Thing has gained his fan-
tastic following as the star of his
own bi-monthly comic book series
published by DC Comics I nc., the
same folks who have brought the
public the monthly adventures of
Superman , Batman, Wonder
Woman , Green Lantern, and a
host of other highly popular and
world-renowned super heroes.
Ever .since the thrill-packed
days of the movie serials, film
producers have looked to the
four-color pages of the comics
for inspiration. Flash Gordon,
Captain Marvel. Spy Smasher,
Superman, Captain America and
dozens of other chapter-play
heroes saw their beginnings in
the comics' pages. More recently,
this trend has been enjoying a
comeback. Dino De Laurentiis
brought back Flash Gordon. Buck
Rogers returned via the television
airways and relative newcomers
such as The Hulk and Spiderman
have had incarnations in TV and
other visual media. Producer
George Lucas was actually hop-
ing to make his own version of
Flash Gordon when, upon learn-
ing the rights had already been
obtained, created his own serial-
and-comic book-based legend.
Star Wars.
Of course the "father” of the
comic book super-heroes was, is,
and always shall be the Man of
Steel himself, Superman. The
success of the previously men-
tioned films in addition to Super-
man The Movie and Superman .1 1
fired the big studios’ interest for
more and more comic-related
features. Coupled with the equal-
ly fantastic success of the newest
batch of horror films that the
public has been busting the box
office to view, the creation of a
Swamp Thing feature film seemed
a natural. But the Swamp Thing
has a distinct advantage over his
comic-film predecessors. And
that advantage is in the person of
co-producer Michael Uslan.
In 1979, Uslan first met Ben-
jamin Melniker who, for a quarter
of a century had been a general
counsel, lawyer and vice presi-
dent at MGM. Melniker, after
leaving MGM had produced
8
FROM THE CO
TO THE SILVER S
The Story of How
Two Dedicated Producers
Teamed Up to Keep
The SWAMP THING Movie
True to Its Comics
Tradition.
Mitchell starring Joe Don Baker
and directed by Andrew Me
Laughlin, Shoot starring Cliff
Robertson and Ernest Borgnine,
and he arranged for the comple-
tion of the film Winter Kills. Mel-
niker's eventual partnership with
Uslan was a combination of tal-
ents that was a natural joining of
two closely-related but often
separate industries.
Uslan began his film career as
an attorney for United Artists
Corporation. But prior to this
professional beginning, Uslan
authored twelve books, including
The Rock and Roll Trivia Quiz
Book, and two collections of the
best of DC Comics' science fic-
tion and war comics. Uslan's
expertise in the comics area does
not come from a casual interest. A
life-long comics fan, he actually
taught a course on comics and
comic history and art at the Uni-
versity of Indiana during the last
decade while a student there. His
course gained national attention
and led to a junior staff position
with DC Comics itself. Uslan also
created a DC Comic series and
scripted adventures of DC’s Sha-
dow and Batman titles.
It was actually The Batman that
helped form the Melniker-Uslan
team since it was that particular
DC Comics' property that Uslan
wished to make into a multi-million
dollar film epic. But situations
called for the production of Swamp
Thing to come first, leading the
creature into the best possible
production hands.
According to Uslan, never be-
fore has a comics character made
it to the screen with so much of
the original concept intact. In the
past, in almost every case,, pro-
ducers have been eager to ob-
tain the rights to heroes and
characters from what is an equal-
ly visual artistic medium, but they
are then reluctant to consult with
comics creators on further pro-
duction of the film versions of
those characters. Uslan’s inside
knowledge of thefilm and comics
Photo above, Swamp Thing peers pensively back at us from the depths (
Swamp Thing #10 May/June 1974, featuring the final battle betwee
visual aspects of the original
comic book series as possible.
The series was begun by DC
Comics in 1972 almost by ac-
cident. The previous year, in a
mystery comic title called House
of Secrets, editor Joe Orlando
had published a script by writer
Len Wein illustrated by Berni
Wrightson called Swamp Thing.
The short story resulted in so
much mail expressing high praise,
that DC quickly began work on
creating a series based on the
tale.
Wein. a Bronx, New York native,
had grown to love comics after a
few extended hospital stays in his
youth where his father supplied
him with stacks of comics tq read
while recuperating. This interest,
coupled with a flair for art led
Wein to his studies at Farming-
dale State College and his meet-
ing with fellow comic enthusiast
Marv Wolfman. The pair teamed
up and soon became two of the
most successful and popular
comic scripters in the industry.
Wein is currently an Editor at DC
Comics Inc. after a long stint in a
similar post at the Marvel Comics
Group where he scripted such-
popular features as Spider-Man
and The Fantastic Four.
Berni Wrightson's unique artis-
tic style was completely self-
taught as a youth in the Baltimore
area. A fan of the classic EC
Comics of the 50's, Wrightson
gained inspiration from such ar-
tists as Joe Kubert, Frank Fra-
zetta, N.C. Wyeth and Howard
ics’
ran
EC
as
DC
industries and Melniker's experi-
ence and know-how makes the
team a natural in producing such
films as Batman and Swamp Thing
The making of The Batman was
first announced during the 1 980
New York Comic Art Convention,
before any mention of Swamp
Thing was ever made. Uslan ex-
plains the decision to go ahead
with. Swamp Thing instead of the
already-announced Batman proj-
ect: “ Swamp Thing was cheaper,"
he admits, "and I'd already made
a pitch for it before I left United
Artists. When Ben and I were
working on it for A vco- Embassy,
United asked if we could h^ve it
for Christmas and we said ‘sure’!
It will be released in the United
States and Canada by February
of ‘82 and by Christmas overseas."
“It was really a better picture for
me to gain experience on than
Batman would have been. Many
a seasoned pro told me that I
learned more on Swamp Thing.
than l would have on any other
seven movies! We had stunts,
special effects, special makeups,
child actors and more logistics
problems than anyone there had
ever experienced before!”
The problems faced by the
Swamp Thing producers stemmed
from their desire to bring the
character to the screen with as
many of the exciting and highly
«*
ie swamp. At right, an illustration by Berni Wrightson from the cover of
Iwampy and the Arcane Monster. ® 1974 by DC Comics, Inc.
Editor, recognized Wrightson's
unique ability. His teaming of
Wein and Wrightson on the Swamp
Thing short story and later the
series was to make the book a
"cult favorite” among comics
collectors.
Producer Uslan's friendship
with Wein and other DC staff
members allowed for a close
working relationship between film
and comics personnel to a degree
neither had enjoyed in the past. "I
consulted with Len very closely,"
Uslan quickly and proudly points
out, “I went over all the changes
we had to make in the script and
he agreed with every one!”
To understand how closely
Uslan and Melniker followed
Wein's original Swamp Thing
storyline, one must be familiar
with the first two issues of Swamp
Thing, originally published in 1 972.
It is these comics that were sup-
plied to director/scriptwriter Wes
Craven before the first drafts were
even begun.
Wein’s story in the premiere
issue introduced Alec and Linda
Holland, a husband-and-wife re-
search team who had discovered
a miraculous Bio- Restorative,
Chemical with which they hoped
to " . . . make gardens out of
sweltering deserts." With the aid
of United States agent Lt. Matt
Cable, the Hollands are set up in
a secret lab within an abandoned
barn deep in a swampland area, it
being the perfect place to con-
duct their research. Cable im-
presses upon them the impor-
tance of secrecy.
But there was a leak ... a certain
Mr. E, head of an organization
known as The Conclave, is also
interested in the formula. Hench-
men, led by a villain named Fer-
rett, are dispatched to convince
the Hollands that The Conclave
will be a more profitable place to
peddle their secrets than the U.S.
government. The Hollands throw
them out.
Not to be stopped, The Con-
clave decides that if they cannot
have the formula no one can.
They secretly plant an explosive
1 0 Photos: Top left, Swamp Thing (Dick Durok) rises from the Carolina swamps, then trudges off. Upper right, Swampy discovers the unconscious form
of Alice Cable (Adrienne Barbeau) lying in the swamps. Center below, ourfavorite marshfellow breaks free of the chains which bind him to Arcane’s
wooden cross. Insert at right: the original artwork by Berni Wrightson from Swamp Thing #2 Dec./Jan., 1972-‘73 (® 1972 by DC Comics, Inc.)
in the barn and Alec Holland is
caught in the blast. His flaming
form stumbles from the burning
building and is lost within the
murk of the swamp. Linda and
Cable are convinced that he is
dead and Linda vows to continue
the research on her own.
However, thanks to the strange
properties of the bio-restorative
chemical and the bogs of the
swamps, Alec Holland is trans-
formed into a combination of left-
over human and plant. He rises
from the murky water, reborn as . . .
The Swamp Thing.
The Conclave henchmen, once
again led by Ferrett, confront
Linda to convince her to comply
with their wishes. She refuses
and is murdered only moments
before Swamp Thing arrives on
the scene. The hulking monster
stalks the killers until theyare lost
or killed by the surrounding
swamp itself. At the end of issue
#1, after seeing the creature,
Cable becomes convinced that
Swamp Thing is somehow re-
sponsible for Alec Holland’s
death, never imagining that they
are one and the same!
Issue #2 introduces Swamp
Thing's arch foe, Arcane. Arcane
is a wizard/scientist who, with the
aid of his Frankenstein-like Un-
Men, captures the Swamp Thing
and bargains to return his human
form so that Arcane, an ancient
old man, can inhabit the strong
and powerful body of the thing
from the swamps. He succeeds,
but at the last moment, Alec Hol-
land sees the evil that Arcane
plans and reverses the process,
returning himself to the Swamp
Thing and causing Arcane to fall
from his castle walls as his mind-
less Un-Men follow him to his
death.
Or so was supposed. By issue
#10, we learn that Arcane was
put back together, although quite
sloppily, by his Un-Men. The re-
sulting “Arcane Creature” tracks
down Swamp Thing again and a
final, furious battle is waged be-
tween Alec Holland’s alter-ego
and the Arcane creature deep in
the swamps that spawned the
former.
The Swamp Thing comic book
had a tight continuity from issue
to issue. While each story was
separate unto itself, there were
always enough plot threads left
hanging by scripter Wein to in-
trigue readers to eagerly await
the next issue. Although co-
producer Uslan invisions sequels
to Swamp Thing , he knew that
filmgoers would not stand for a
continued tale in the creature's
first film outing. For this reason,
and others, changes were made.
Actor Ray Wise was selected to
portray Dr. Alec Holland and the
Swamp Thing, although he actu-
ally plays one-and-a-half roles in
the film. Wise will be recogniz-
able to millions of soap opera
fans as the character Jamie Rol- 6
lins from the long-running Love of
Life program. However, it is a 8
lucky coincidence that Wise looks §
remarkably like Wrightson's draw- °
ingsof Holland intheearlyissues 9
of the Swamp Thing comic book. , Q
Wise tested in full Swamp Thing "g
makeup along with actor Dick ®
Durok to see who would actually o>
portray the monster on the screen, z
However, although Durok will be a
seen in the film’s final version as |
the moss-encrusted creature, it is %
Wise’s voice that will be heard o
whenever the creature speaks. |
"In the comics,” observes g
Uslan, “it was very difficult and S
even painful for Swamp Thing to
speak. Wrightson or the letterer |
or whomever, devised a special §
word balloon to convey this idea. £
Of course we couldn’t do that on f
film, but we’re trying some special •!’
sound filtering to give the crea- g
ture’s voice an incredible and 6
unique tone. And Ray Wise will
speak all of the monster’s dialogue!” f
Instead of his wife, the Linda =
Holland of the film will be Alec’s e
sister. She is played by Nannette J
Brown, an actress chosen by *-
director Craven from a long list of §
South Carolina actresses. Since £
South Carolina was the set of all
the exterior swamp scenes shot, £
the producers demanded that s
local talent be used in as many §
cases as possible. Nannette f
Brown is a native of Beauford, if
South Carolina and has appeared 5
Photos: Top left, Alec Holland and Alice Cable motor peacefully through the swamps. Top right, Ferrett and his henchmen search the swamps where -| -|
the fiery form of Alec Holland has disappeared. Center above, Ferrett threatens Holland and his sister Linda in their laboratory. Center bottom, the
ever popular monster of the marsh makes eyes at Adrienne Barbeau in an off-screen attempt to swamp her off her feet.
in many local stage productions.
Swamp Thing is her feature film
debut.
Having Alec Holland a bach-
elor allows for an interesting
combination of characters. Taking
Dr. Holland's romantic interest in
the comic book, his wife" Linda
and the government agent Matt
Cable, the Swamp Thing film will
feature Adrienne Barbeau as Alice
Cable, government electronics
expert who is assigned to protect
the Hollands.
Barbeau is also famous to tele-
vision viewers as Carol, the lib-
erated daughter of Beatrice Ar-
thur in the long-running Norman
Lear hit, Maude. She is also the
wife of director John Carpenter
for whom she has done two films,
The Fog (where she made her
motion picture debut) and Escape
from New York.
Since Swamp Thing is a com-
plete story, the threadline of The
Conclave had to be eliminated
from the story, even though a
strong villain was needed. Mas-
terfully, the comics characters of
The Conclave and the arch-villain
Arcane are combined into one
super-foe portrayed by Louis
Jordan.
A veteran actor, the Frenchman
began his film career in 1 940 for
1 French director Marc Aleegret’s
Le Corsaire opposite Charles
Boyer. A David O. Selznick talent
scout brought him to_ America
shortly after the World War II
liberation of France.
1947 began a long American
film career for Jordan with The
Paradise Case.
More recently, horror fans were
thrilled by Jordan's portrayal of
the legendary Count Dracula in
the BBC’s production of Bram
Stoker's classic, seeg in the U.S.
on the Public Broadcasting System.
Led by Jordan’s film version,
Arcane (who is also a wizard/
scientist as in the comics), is the
commando team of Ferrett and
Bruno. This pair, along with
others, is the film version of the
henchmen sent after the Hollands
by The Conclave in the comics.
Here, they are working for Arcane,
whose castle lies in the same
swamp where the Hollands are
secretly working.
The incredible birth of the Swamp Thing in Swamp
Thing #1.
Swamp Thing returns to the lab that spawned him
in Swamp Thing #1 .
12
'
Preliminary latex makeup is custom-fitted to the
actor’s face in preparation for the final Swamp
Thing facial appliance.
Actor Dick Durok sits patiently in Swamp Thing
costume (sans left arm) as a makeup man applies
the facial mask.
page 1981 Swampfilms,
Ferrett is portrayed by actor
David Hess, a multi-talented in-
dividual who has had equal suc-
cess as a composer, writing such
diverse material as the 1950's
Elvis Presley hit All Shook Up to
the score of Craven’s film The
Hills Have Eyes. His captainship
of the United States rugby team
from the year 1968 to 1971 condi-
tioned him well for his portrayal of
the commanding mercenary for-
ces soldier in Swamp Thing.
Nicholas Worth, who has most
recently appeared as a guest star
on television’s WKRP in Cincin-
nati and The Greatest American
Hero plays Bruno, the second-in-
command of Arcane’s commando
troops. In the course of the Swamp
Thing feature, Bruno undergoes
a horrifying transformation which
is the film's version of Wright-
son's comic book visuals of
Arcane's Un-Men.
“We really attempted to recreate
many of the comics' actual vis-
uals,'' Uslan boasts, “right from
the- very beginning. In Swamp
Thing #1, Berni illustrated the
instantaneous growth of a swamp
plant due to the properties of the.
Hollands’ bio-restorative chemi-
cal. To bring it up-to-date, Wes'
script describes the experiment
as based on DNA, hoping to
combine the genes of plants and
animals. Not only is it keeping
with more modern theories, and
not only does it help to explain
the transformation of the Swamp
Thing, but it provided us the
opportunity to use some stop-
motion special effects to recreate
the rapid-growth plant sequence.”
Although this sequence prom-
ises to be a startling one, the
single most talked-about se-
quence is the terrifying scene
where, covered with burning
chemicals, Dr. Holland races
screaming from the abandoned
barn and into the murky sur-
rounding swampland. "It’s an
abandoned church in the film,"
Uslan points out, "but we wanted
to capture Berni's startling ‘bum
scene’ as closely as possible.
Stuntman Tony Cecere was stand-
ing in for Ray Wise in the scene
where the Hollands' secret lab
explodes. He did not use the
(Continued on page 62)
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I There has been
im unusual. Th rA Kurtz
liable and C fyde and
icas, Bonnie and Y
,e have Roger and )
in, that is. s band and wife
HoHyvvoodhu b ent pro .
formed an “world Pictures,
an house, and have been
in the ear Y ' sinc e. And
■. m ct toeether ev rorman
veteran and sole survivor of the
Hesperian massacres from 25
years ago who barely gives her
crew enough time to get to their
stations before blasting the ship
into hyperspace. Emerging from
hyperspace, the Quest is caught
in a vast, unexplained energy field
and pulled toward the surface of
Morganthus. Captain Trantor is
able to bring the ship in for a
rough landing neara huge ring of
space debris from innumerable
shipwrecks.
Eager to obey the Master’s
orders to locate the survivors of
the Remus , Commander llvar or-
ganizes a search party. Specially
selected by the Master, the Quest's
crew members are as diverse in
personality as they are in their
unique skills and strengths. Sec-
ond in command is Baelon (Zal-
man King), a weapons specialist,
who is a tense, energetic man
family have produced genre films
that will be competing against
each other for the nation’s top
"horror film dollar." With the al-
most simultaneous release of
Roger Corman’s serious SF
shocker Galaxy of Terror, and Julie
Corman’s satirical spoof of the
horror genre, Saturday the 14th,
Fantastic Films thought it a per-
fect time to take a look at the
creative forces behind New World
Pictures.
GALAXY OF TERROR
On the dark, barren planet of
Morganthus, a lone survivor
trapped inside the exploratory ship
Remus fights for his life against
an unseen terror within the ship’s
twisted remains . . . and loses . . .
horribly . . .
Informed that the Remus has
crash-landed on its mission from
Xerces, the Planet Master sum-
mons Commander llvar (Bernard
Behrens) to prepare a rescue ship,
the Quest, for a mission to Mor-
ganthus. Mitri, the Master's com-
panion (Mary Ellen O'Neill) is an
old soothsayer who warns that
the crash of the Remus has been
predicted by the psychic "game”
she and the Master play.
The Quests Captain Trantor
(Grace Zabriskie) is a non-stop
Photos this page: Top left,- the miniature of the Quest is ready for blast off from its hangar deck in a scene from Galaxy of Terror.
Center, upper left, an SPFX technician stands beside the miniature set of the hangar deck, giving us an idea of the model’s scale.
Upper right, a modelmaker prepares the basic form of the Quest miniature for detail enhancement. Lower left, preliminary
experienced in meeting all prob-
lems on a physical level. Baelon
leads four crew members into the
wreck of the Remus, including
Alluma (Erin Moran), an attractive,
intelligent woman with the ability
to "sense" the presence of bio-
logical life processes. Although
he serves under Baelon, it is crew
member Cabren (Edward Albert)
who has the quick reflexes and
self confidence of a natural leader,
talents he seems to prefer to keep
to himself. Quuhod (Sid Haig) is a
strong and silent giant of a man,
who favors his star-shaped “throw-
ing crystals" over modern weap-
ons. He is a deadly combat vet-
eran, yet sensitive to Co's (Jack
Blessing), who is the youngest
crew member, unsure but anxious
to prove himself.
Within the twisted and torn
remains of the Remus, five of the
(Continued on page 49)
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Special Christmas
Buyers’ Section
PACIFIC COMICS CATALOGUE *16
Dear Reader,
Welcome to Catalogue *16. This catalogue is a companion to Fantasy Catalogue *15, which features limited-
edition portfolios and prints, as well as selected book items. This catalogue is primarily books, but you will also find
late-addition portfolios and other limited editions. If you have not received a Fantasy Catalogue, please let us know.
Copies are free upon request.
There are several new items of special interest in this catalogue. The Elfquesl Trilogy is the first of a proposed three-
volume set that will reprint the entire Elfquest Saga in glorious full color. There is a special signed and numbered
limited edition available. Advance orders will be sent immediately upon publication. Another special book is Paper-
backs, (J.S.A.: A Graphic History, 1939-1959 by Piet Schreuders. This profusely illustrated trade paperback will be
invaluable to anyone with more than a passing interest in vintage PBs. Another special publication is The Marvel
Comics Index *9A: The X-Men and Others. This new volume continues this fine series, a must for any Marvel collector.
Also of note is the R. Crumb Checklist, which lists even the most obscure editions of this incredible cartoonists work.
The Moon Knight Portfolio is another smash item for comic collectors.
Over the years. Pacific Comics has maintained a high standard of customer service and integrity in the mail-order
business. This is a business where, unfortunately, ripoffs and slow service are commonplace. While not every order is
without its problems, if something does go wrong, our courteous and professional staff will help you swiftly and
efficiently. Do not hesitate to write or call. We guarantee customer satisfaction.
You will find all the latest fall and winter releases in this catalogue. A few items will not be available until October
or November 1981. Small press (and large press) items are sometimes subject to delays or cancellations. To protect
against this, we suggest that you list alternate selections on every order. Advance orders will ship upon publication.
We have included selected science-fiction novels by top authors. This speculative literature has a rich history. The
worlds of imagination that open up in these fine books are a truly rewarding and mind-boggling experience for young
and old. Take a look into the unusual — you may like what you find.
We want this catalogue to reach as many interested parties as possible. If you have a friend or two who you think
would enjoy the items listed on these pages, encourage them to drop us a line. We will send a copy free of charge.
Pacific Comics also distributes the items listed in this catalogue (plus much more) to bookstores and newsstands
nationwide. If your local store does not carry this type of material, encourage them to write us on their letterhead for a
wholesale list. We can only wholesale to stores and bona fide dealers; we cannot wholesale to individuals.
One final note; Most orders are shipped the same day we receive them. Occasionally publishers fall behind in re-
leasing their products, and this means a delay in shipping. Please allow 4-6 weeks delivery time. Thank you. We hope
to hear from you soon.
Happy ordering,
Bill Schanes / Steve Schanes
PACIFIC COMICS DISTRIBUTORS
4887 Ronson Court, Suite t, San Diego, CA 92 I 1
Phone (7 1 4) 560-0203
P. O. Box 992 I 7, San Diego, CA 92 1 09
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2
THE
DINOSAURS
A FANTASTIC NEW VIEW OF A LOST ERA
BY WILLIAM STOUT
EDITED BY BYRON PREISS
NARRATED BY WILLIAM SERVICE
The Dinosaurs — William Stout. Text by William Service, edited by Byron Preiss. William Stout is one of the top illustrators in
the business. His very special work has been featured on movie one-sheets, portfolios, prop designs, album covers, underground
comix, books, T-shirts, and much, much more. He recently did comic-book-style storyboards for the upcoming Conan film,
giving this new production much of its tone. His primary interest, however, has always been dinosaurs — the mysterious inhabi-
tants of our prehistoric world. This major book release is Stout's finest hour. It is a lour-de-force, an exhausting labor of love —
but are the results ever worth it!
The Dinosaurs is a major art book release for the fall season, a beautifully produced trade paperback, magnificently designed.
Stout has created over 75 full-color and 50 black-and-white illustrations for this volume. No cold “technical" drawing here —
although the dinosaurs are anatomically quite correct. The tone of this book is lush and full of life. The text by William Service
is lyrical as well, describing vignettes of the dinosaurs' lives, describing sound, sensation and emotion. Service, author of Owl.
will delight fantasy fans as well as natural history buffs. The integration of the text and art is very special, using specially
designed type and a visually exciting approach coordinated by editor Byron Preiss.
The Dinosaurs is scheduled to receive major promotion upon release. Life magazine will excerpt fout or five pages. There will
be print ads in national magazines and fantasy specialty magazines. A promotional tour is planned. We highly recommend this
book. It will have strong appeal to several different interest groups. We are so excited about this book that we are co-publishing
a special deluxe edition described below. Trade edition measures 8" x 11 ", 160 paqes.
$12.95
The Dinosaurs Deluxe Edition. Hardcover edition, boxed in a deluxe slipcase. Limited to only 1,000 signed and numbered
copies. This special edition of this ground-breaking book will be available only through the direct-sales market. The national
push on The Dinosaurs is sure to guarantee a great demand for this highly collectible lavish edition. There will be special ads in
selected magazines for this edition. Available November 1981. $39.95
MOORCOCK — WHELAN
THE VANISHING TOWER by
MICHAEL MOORCOCK
With Illustrations bar Hugo Award Winner
MICHAHL WHELAN
Published by
ARCHIVAL PRESS, INC.
The Vanishing Tower — Michael Moorcock. Illustrated by
Michael Whelan. A number of years ago. Blue Star publishers
released a handsome leatherette-slipcased edition of Elric of
Melnibone by Michael Moorcock, with illustrations by Bob
Gould. Published in an edition of 2,200 copies, this volume is
now out of print and commanding collector prices. Blue Star
never followed the volume up with the rest of the series, but.it
is now finally coming out under the Archival Press imprint.
Michael Whelan, award-winning fantasy illustrator, has long
been associated with the Elric character. His outstanding
covers for the DAW paperback editions of the Elric series can
be found in the paperback backlist segment. of this list. For
this new edition, he has created a full-color frontispiece, six
full-page black-and-white illustrations; three half-page illos.
and three third-page illos.
The Vanishing Tower . reflects the format of Elric of Melnibone
to give the series continuity. It is bound in red leatherette
with gold stamping and packaged in a matching leatherette
slipcase. 6 " x 9 ", 200 pages, available for shipping
25.00
4
PACIFIC COMICS
DISTRIBUTORS
4887 Ronson Court. Suite E
San Diego. California 92111
Phone:(714)560-0203
NEW ELFQQEST PRODUCTS
Elfquest Trilogy. We are now accepting orders on what is sure to be the publishing event of the Fall — the
first installment of the complete Elfquest saga in full-color book format. Starblaze will bring you this adven-
ture in full photo-separated color! Wendy Pini's coloring technique is fabulous, and sure to delight both old
and new readers of the series. The blending of art and story is superb, as usual. This volume will present the
first five comic books, one-third of the series that will run fifteen comic books (hence the Elfquest Triloqy title).
It will be published in 8'4> " x 11" format, printed on quality paper with a new Wendy Pini cover.
Elfquest will be available in a trade paperback edition and a collector s hardcover. The collector s-hardcover
will be a deluxe, limited si i pease edition. It will contain a signed and numbered limited-edition print by Wendy
Pini that will not be available elsewhere. The book will also include a new introduction and other previously
unpublished material. Here is a permanent edition of a modern-day fantasy classic. -160 paqes. 8' • " x 1 1
TRADE PAPERBACK: $9.95
LIMITED-EDITION HARDCOVER with Signed Print $35.00
Elfquest Gatherum. Over six months in the making, this ambitious new book is an Elfquest fanatic's dream come
true. Uncovers the inner workings and behind-the-scenes facts of fandom’s favorite comic. Elfquest Gatherum is a
square-bound, trade-paper-format book over 100 pages thick. New Wendy Pini color cover. Long, in-depth interview
with Wendy and Richard Pini, creators of Elfquest. A slew of production sketches, page roughs, original tidbits offer
a unique insight into the creation of this enchanted graphic saga. $6.95
Elfquest. Fantastically successful
Pini. Get a set for a friend.
comic series by Wendy
Issue "1 .
$1.50
Issue "2.
$1.50
Issue " 3 .
$1.50
Issue "4.
$1.50
Issue "5.
$1.50
Issue * 6 .
$1.50
Issue "7.
$1.50
Issue “8.
$1.50
Issue "9.
$1.50
Issue "10.
$1.50
Elfquest Figures
We are now stocking the exquisitely detailed figures of
Cutter and Leetah, produced by the exacting artisans at
Superior Models. These are superbly detailed 3-inch fig-
ures, guaranteed to satisfy. They are available in both
fine pewter and lead glloy. They may be painted the way
you imagine them or left as is. A handsome addition to a
collection or bookshelf, a perfect gift, a highly collectible
investment.
Cutter (pewter): 19.50/
Cutter (lead): 12.50
Leetah (pewter): 19.50/
Leetah (lead): 12.50
5
CHlJsfie
Books
™l DELL
Paperbacks, U.S.A.
A Graphic History, 1939-1959 *
There are few areas of collectibles that
are more fascinating than the vintage
paperback book. A group of Dutch col-
lectors, who got hooked on such books
as they grew up, assembled a huge col-
lection of covers for a wildly successful
show that hung in the Hague last year. To
sum up the exhibition, one of the collec-
tors, Dutch artist Piet Schreuders, has
written Paperbacks. U.S.A. This is a dili-
gently researched trade paperback re-
counting the first twenty years of "the
American Paperback Revolution." To say
that it is profusely illustrated is an under-
statement. Thousands of prime covers are
pictured in both color and black and white.
These are the creme de la creme of vintage
cover art. There are also photos, biograph-
ical profiles, and indexes of the major
cover artists. Also included are all sorts
of interesting visuals, such as the evolu-
tion of colophons of major publishers,
weird old ads' for paperbacks, wartime
propaganda, and much more.
New York Times Book Review has already
praised Paperbacks. U.S.A.. and reviews
are scheduled for Uew West and other
publications.
The book is 270' pages thick, with 36
pages in glistening full color.
PACIFIC COMICS
DISTRIBUTORS
10.95 $1.75 postage. 4887 Ronson Court, Suite E
San Diego, California 92111
Phone.- (7 14) 560-0203
JAMES M.CAIN I
SfAte'DO'JR
burnsM
i A TASTE FOR HONEYa.sSSjffJS?^ L
RtiWlMuOn!
~~ ETOSRI
MssJiil
from SHANGHAI
IVVt'AivNiirAlmii'B;
Mistress Murde
f jfe, by JAMES M. CAIN
"loves lovely
COUNTERFEIT
Now Available
breathe!
NO MORt.l
MY LAD>
Heavy Metal Animation
Cel Portfolio
Heavy Metal Pencil
Animation Portfolio
Heavy Metal Movie Portfolios of Original Art. We are proud to announce an entirely new concept for both portfolio and
original art collectors. It is no secret that the fantasy/animation motion picture release of the fall is the eagerly awaited Heavy
Metal Mod, e. This film is the result of a huge collaboration of creative talents, including over seventy animators from fourteen
different countries. There are eight segments in the finished film, each inspired by a feature in the magazine. The portfolio
consists of one original hand-painted animation cel from each segment. The cels have been carefully selected: they are all prime
cels showing full figures or head-and-shoulder shots. There are no 'throw-away' - cels. Each cel will be embossed with a seal
designating it as a part of this limited edition of 1 ,000 portfolios. Original animation-cels are highly collectable, and it is not
unusual to see a single cel going for more than the entire cost of this portfolio.
The eight segments of the film are stories within themselves. "Soft Landing" is the opening sequence, which evolves into the
(jrimaldi story that is the key bridge between segments, the first of which is Richard Corben's "Den." This is Corben's long-
running senes from Heavy Metal, and the animators have gone to great lengths to translate Corben's unique graphics into an
animated format. We are then treated to the farcical outer-space adventures of "Captain Sternn." faithfully animated from
Bern, Wnghtson s Heavy Metal story of the same name. On to "B- 1 7," which is billed as the "first true EC-style horror story to be
animated. The work is based on the art of Mike Ploog. who needs no introduction to comics or animation fans. The next fea-
ture is So Beautiful and So Dangerous," which combines illustrator Angus McKie's intensely detailed backgrounds with a
coup e o -inspired space jockeys. Gimenezs "Harry Canyon" is a mind-bending trip through New York
City of 2031 . The clincher of the film is the 27-minute "Taarna" sequence. This is a sequence that could only be animated: full
of wild beasties and impossible events.
, Here is a once-in-a-lifetime chance to own an actual frame from the movie. The package measures 1 1 " x 14"; the majority of
the cels are approximately 10 " x 1 3 ". The portfolio is packaged in a full-color, numbered folder. No two are the same. This out-
standing package will coincide with the new release date for the film. $70 oo
Heavy Metal Movie Original Pencil Art Portfolio. This portfolio is a companion piece to the above-mentioned cel portfolio.
During the animation process, the artists produce a large number of pencil drawings as a guideline for the cels. We have com-
piled portfolios of an original pencil drawing from each of the eight segments. The pencil drawings are designed to capture the
character and quality of motion. Each of the drawings is original and done expressly for the film. Packaged in a handsome
i ustrated folder featuring a pencil-stage drawing of Taarna, as the cel portfolio features the finished art version of Taarna.
Limited to 1 000 numbered copies. . _
PACIFIC COMICS
DISTRIBUTORS
j 4887 Ronson Court. Suite E
I San Diego. California 92111
Phone:(714)560-0203
Heavy Metal Original Cel Portfolio Quantity
Heavy Metal Original Pencil Art Portfolio Quantity
Enclosed please find my check or money order for the portfolio^) indicated above. U.S. o
postage and handling: Canada add S3. 00: Europe. Asia. Australia add S4.00. U.S. funds; d
Please send free Fantasy Catalogue only.
SCHANES & SCHANES PORTFOLIOS
Beyond Heaven and Hell — John Pound. Six black-and-white
plates plus illustrated folder. Limited to 1,000 signed and
numbered copies. John Pound is undoubtedly one of Ameri-
ca's most promising new illustrators. With Beyond Heaven and
Hell he firmly establishes himself as a top professional in the
graphics fantasy field. Each of these lush plates is printed in a
duotone process, allowing a wide range of subtle tones. John
Pound’s visionary paintings depict a world of spellbinding
intensity where gods and demons inhabit a land of surreal
splendor. Each plate is 12'/2 " x 15'/2 " on fine linen stock, in a
handsomely illustrated folder. Published in 1979; very few
remain. $30.00
8
Dark Suns of Gruaga — Alex Nino. Ten black-and-white
plates plus illustrated folder. Limited to 1,000 signed and
numbered copies. Alex Nino charts the realms of the imagina-
tion. He is bursting with images of these worlds, and he ren-
ders them with a facility that few artists approach, a unique-
ness that none approach. Dark Suns of Gruaga tells a story in
symbols, a story of love, birth, separation, death, and rebirth.
It takes place in the misty, ever-changing Land of Gruaga, and
from start to finish it is an eye-popping display of fluid pen-
and-ink line. Nino has been hailed world-wide as a Master of
Fantasy, and Dark Suns of Gruaga is one of his finest efforts.
Each plate measures 1 1 " x 1 6 " on heavy stock, in an illustrat-
ed folder with descriptions of the plates by Nino. Published in
1979. $15.00
Greg Irons, best known
for his work for contem-
porary “underground
comix" and also an ac-
complished and prolific
book illustrator, has cre-
ated a classically ren-
dered suite of new’ illus-
trations of Coleridge's
classic narrative poem.
The Rime of the Ancient
Mariner. Each of the six
plates is Irons’ detailed
pen-and-ink style as its
best. Packaged in an il-
lustrated folder, com-
plete with artist profile.
Published in a very lim-
ited edition of only 750
copies, each signed and
numbered by the artist.
$12.00
Dragons
Pacific Comics
Robin Hood
PatriciaM c Killip's
( )U( iOTTRNI
K \STsl
Award-winning illustrator Alicia Austin has
turned her richly interpretive talents toward
Patricia McKillip’s magical fantasy novel. The
Forgotten Beasts of
Eld. This portfolio
consists of six full-
size rectangular plates
on heavy 80-lb. art stock.
The plates are broken down with
very elaborate border designs
that are illustrations in
themselves. This is
Alicia’s first signed
and numbered portfo-
lio. and will most cer-
tainly appreciate in value. Packaged in an il-
lustrated two-color folder, complete with art-
ist profile and photo. Alicia Austin has
signed and numbered each of this strictly
limited edition of 1.500. Published
by Schanes & Schanes, 4887
Ronson Court. Suite E.
San Diego. California
92111. $15.00
by ALICIA AUSTIN
Land of Shadows — Frank Cirocco. Six big, magnificent
full-color plates inspired by Tolkien. Signed and numbered
edition of 1,000. Printed on expensive coated photo stock.
Color by Steve Oliff. This portfolio is out of print and in very
short supply. A prime investment.
$ 100.00
The Portfolio of Underground Art. A MAJOR PUBLISHING
EVENT! The Portfolio of Underground Art consists of 13 black-
and-white plates by 13 of the most famous and popular artists
in the history of underground comix: Rick Griffin, Spain Rod-
riguez, Rory Hayes, Jack Jaxon, Larry Todd, Robert Williams,
Greg Irons, Gary Hallgren, Dan O’Neill, Guy Colwell, Rand
Holmes, S. Clay Wilson, and Robert Crumb. Each plate is
hand-signed and numbered by its artist. This deluxe package
features a cover by Rick Griffin.
The Portfolio of Underground Art is sure to be the best in-
vestment of 1980. Each page measures 11 , /2 "x 16" and is
printed on 80-lb. white linen stock. Each of the artists has
contributed a new piece, each a prime example of the artist’s
very best, most detailed work. Published by Schanes & Schanes.
$40.00
Robin Hood — Howard Chaykin. Howard Chaykin has illus-
trated one of history’s most exciting adventure tales in port-
folio format. This folio depicts the highlights of this noble
rogue’s adventures. Each of the six black-and-white plates
measures a big 1 1 " x 15 " and the folio is signed and numbered
by the artist in a limited edition of 1 ,000.
$ 10.00
9
Obsessions
Pacific Comics Catalogue
Power and Glory
A Fatal Beauty — Richard Hescox. As the title suggests, this
exotic portfolio features fantasy women that are breathtak-
ingly beautiful and at the same time as dangerous as a razor-
sharp dagger. Hescox has executed the paintings in black-and-
white acrylic washes, producing a wide variety of subtle tones.
This portfolio was published by Schanes & Schanes in May,
1980, and consists of six black-and-white plates on heavy art
stock. A Fatal Beauty is a signed and numbered limited edi-
tion of 1 ,200 copies. This is Richard Hescox’s finest work to
date, and is something no collector of fantasy art will want to
be without. An outstanding release, packaged in an illustrated
folder featuring a biographical profile of the artist.
$15.00
Men, Maiden and Myths— Nestor Redondo. Nestor Redon-
do's artwork has been an inspiration to artists and fans through-
out the world. In Men, Maiden and Myths, his first limited-
edition portfolio, his fluid and sensuous linework illuminates
the classic figures of world mythology. Each lush plate pulses
with the mystery of ancient civilizations, yet remains a prime
example of contemporary fantasy illustration. This portfolio
has been printed on fine linen stock and contains six 11 " x
16" black-and-white plates and a handsomely illustrated folder.
A hand-signed and numbered edition of 1 ,000.
$ 12.00
10
Power and Glory — John Pound. John Pound is rapidly be-
coming one of the top names in fantasy illustration. Since his
debut portfolio, Beyond Heauen and Hell, was published early
last year, he has been working on six large paintings inspired
by plate 6 of that portfolio.
Power and Glory is the story of a massive war on a fantasy
planet of Pound’s imagination. It is a world populated with a
variety of beast-men that stun the senses. Lion and bear-
headed warriors are armed with both swords and automatic
weapons. There is a legion of wolf-headed cavalry, each
mounted on steeds of glistening steel armor. In the center
plate, this legion thunders in a death charge against boar
artillery.
There is the haunting image of an anthropomorphized
cobra in flowing scarlet robes giving a war speech to a huge
throng. The scene is reminiscent of Nuremberg in World War
II.
Another highlight of this portfolio is the final plate, a wild
victory feast in a sacked city. John Pound's polished painting
technique creates a glowing effect as the firelight is reflected
from the bronze ornaments and wine goblets.
The cover to Power and Glory is rich gold embossing on
thick black stock. The plates are reproduced on coated stock,
using expensive color reproduction methods to capture
Pound's subtle tones.
Power and Glory could well be the portfolio of the year. It is
a deluxe limited edition of 1,200. Each copy is signed and
numbered by the artist. If you have yet to discover this great
new talent, you are in for a real treat.
If you are one of the lucky ones who own a copy of Beyond
Heaven and Hell, John's first portfolio, or know Pound from
his many magazine covers, you will view the release of Power
and Glory with as much excitement as we here at Pacific
Comics. Published by Schanes & Schanes.
$35.00
A VISI’Al.- SPLENDOR IN THE
TRADITION OF THE .WASTERS
Pacific Comics Catalogue
Voyage of the Ayeguy
FRANK THORNE
4»AK1E>'*
WARRIOR
WOMEN
Strange — Marshall Rogers. Marshall Rogers’ brilliant artwork
has won him a legion of fans. In Strange, his premiere portfolio
effort, Rogers' fertile imagination has developed new charac-
ters especially for this folio. We follow them through detailed
cityscapes of a strange world. The mood is of mystery and
adventure rendered in the unique Rogers style. Each 1 1 V 2 " x
16" plate is printed on fine linen stock, using the duotone
process. A signed and numbered edition of 1 ,200.
$15.00
Wizards and Warrior Women — Frank Thorne. Frank Thorne
is the wizard. In this superb folio, the wizard and six beautiful
warrior women battle their way through encounters with ar-
mies, dragons and demons. Thorne’s detailed linework is es-
pecially crisp, and each plate shows the quality of his best
work. This hand-signed edition of 1 ,000 is nearly sold out. Six
black-and-white plates in an illustrated folder and envelope.
$ 12.00
Voltar — Alfredo Alcala. Six black-and-white plates plCis il-
lustrated folder. Limited to 1,000 signed and numbered copies.
The incredibly practiced pen-and-ink techniques of Alfredo
Alcala have long been recognized as the work of a master il-
lustrator. With Voltar, he presents us with a tour-de-force that
recalls Alcala’s roots in the classic book illustration of the turn
of the century. Moody cloudscapes swim with detailed line-
work, fierce Amazon warrior ‘women charge through sun-
dappled tropical jungles. Throughout this savage world strides
Voltar — the hero of the ages. Each plate is a big 1 1 V 2 " x -16 ".
Voyage of the Ayeguy — Josh Kirby. This is Josh Kirby’s
masterpiece of SF illustration. You get the feeling as though a
Renaissance painter has been flung into the far future of an-
other world, recording all he sees in panoramic, minutely de-
tailed vistas. A truly inspired portfolio from a master painter.
Voyage of the Ayeguy, containing six plates, is reproduced in
full color on coated stock. Each portfolio is packaged in an
embossed, illustrated folder, with artist profile and notes.
Each is signed by the artist and numbered in a limited edition
of 1,200. $35.00
portfolio
ROGERS McLEOD BLACK
BEATTY SIENKIEWICZ
BYRNE GOLDEN PEREZ
KALUTA KANE KIRBY
We are pleased to announce a new release by Cirocco,
Seven Dreams ofSinbad. The artwork for these beautiful
and mysterious plates is executed in pencils and delicate
gray tones. The artwork is reproduced using a duo-tone
process, highlighting the subtlety of the work.
Seven Dreams of Sinbad consists of black and white duo-
tone plates accompanied by a full-color plate on coated
stock. The plates are packaged in a deluxe presentation
folder, complete with a biographical profile of the artist.
The edition is limited to 1 ,200 signed and numbered
copies Published by Schanes and Schanes,
20.00
Warriors of the Shadow Realm. Artwork to dazzle your
senses! Warriors of the Shadow Realm is a ground-breaking
effort in the graphic fantasy field. Each plate is printed as it
originally appeared — without word balloons to distract from
the graphics. Six full-color piates. This vividly produced port-
folio is ready for shipping now! Each plate is printed on white
linen stock and measures 1 1 " x 16". Packaged in a handsome
olive-green illustrated folder.
$ 12.00
12
MAITZ / ADAMS / WRIGHTSON
A Portfolio of Fantasy: The Art of Don Maitz. Fantasy
artist Don Maitz has taken the world of paperback book cover
illustration by storm. His covers have won wide renown, in-
cluding the Silver Medal of the Society of illustrators. In this,
his first portfolio, six of his finest covers are reproduced in
vivid full color on beautiful art stock. The mystery, imagina-
tion and execution of these paintings is top-notch. Among the
highlights are: Ariosto, a mythical poet-prince ready to leap
to the skies on a fantastic winged horse: the Ghost-Slayer, a
bejeweled minstrel surrounded by menacing wraith-warriors;
and the Stake-Out. a war-helmeted ape that inspired an entire
issue of Creepy magazine. This very handsome release is a
must for portfolio collectors. Each of the six plates is approxi-
mately 1 1 " x 18". It is packaged in a handsome jet black slip-
case featuring an illustration in pure white. Don Maitz has
signed and numbered each of this limited edition of 1,250
copies. Now available. $20.00
The New Heroes— Neal Adams. One of the all-time favorite
artists of comic fans is Neal Adams. In this limited-edition
portfolio offering, he has created half a dozen original char-
acters, any of whom would be right at home in a graphic story
presentation. Rendered in Adams tight pencil technique,
heroes such as Toy Boy. Titan. Ms. Mystic. Shaman. King Tut,
and Crazyman seem to hint at dark and mysterious powers.
The New Heroes is a limited edition of 2,000 copies, each
signed on the illustrated envelope by Adams. Six 1 1 V 2 " x
14'/2 " plates. $25.00
Apparitions — Berni Wrightson. In Apparitions, Berni Wright-
son’s dazzling coior sense is gloriously displayed. Four im-
aginative scenes are painted in vivid color and printed on
coated, heavy stock. This portfolio is available in two editions,
each packaged in a cardboard-reinforced illustrated envelope.
Unsigned: $8.00
Signed and numbered edition of 1,000: $15.00
Berni Wrightson: A Look Back. After months of waiting for
a tremendously complicated legal hassle to be resolved, we
are pleased to announce that Berni Wrightson's lavish career
retrospective is back in stock. This is a tremendous book;
here’s what you get: 360 pages encompassing Wrightson's
entire career. 300 individual illustrations, 65 full-color plates
including two of the rare. “Purple Pictography" collaborations
with Vaughn Bode. 9"xl2". beautifully bound hardcover
with full-color dust jacket. Introduction by Harlan Ellison.
HARDCOVER BOOK
13
LIMITED EDITIONS
Vance
The Last Castle — Jack Vance. First hardcover edition by
this SF great, originally published as a novella in Galaxy in
1966. Same fine production values as the now out-of-print
Morreion. Big hardcover measures 9"x 12", sporting a full-
color dust jacket by Alicia Austin. Austin illustrations through-
out, including four full-color pages. Border decorations on
each page. Limited to only 1,000 copies. Each copy shrink-
wrapped, each copy with a bookplate signed by Alicia Austin.
20.00
Batman — Marshall Rogers. In 1977, a remarkable run of Bat-
man adventures began in Detectiue Comics. Scripted by Steve
Englehart, these groundbreaking episodes featured the excit-
ing artwork of a new artist: Marshall Rogers. Rogers’ detailed
cityscapes of Gotham City, coupled with his dynamic rendi-
tions of the Caped Crusader, caused many comics aficionados
to proclaim these tales to be the definitive version of the Bat-
man. At last, Marshall Rogers has returned to the subject mat-
ter that won him this acclaim. For this portfolio, he has created
four full-color presentation plates, each capturing the moody,
night-stalking essence of a classic fantasy character. Each
measures a full 11 "x 14", and the set is packaged in an il-
lustrated envelope. The Batman portfolio is available in two
editions, signed and unsigned.
Unsigned:
14
Children of the Twilight— Michael Kaluta. Kaluta has looked
into a magic mirror which reflects women of other-worldly
beauty and tiger-human contours. Each image is nicely framed
by a circular border, and every picture features the detailed
work for which Kaluta is noted. Full color on coated stock,
packaged in a cardboard-reinforced illustrated envelope.
Unsigned: $8.00
Signed and numbered edition of 1,000: $15.00
STOUT / ADAMS / KALUTA / BYRNE et al
V WL LIAM $TOUT
The Prehistoric World of William Stout. Artist William
Stout, currently doing production art on the Conan the Bar-
barian film, has been fascinated with dinosaurs throughout
his career. This portfolio, produced in 1977, is becoming
harder and harder to find. It contains 10 full-color plates, each
one a big 1 IV 2 " x 14'/2 ". Sabertooth tiger, tyrannosaurus,
and an exotic fantasy cave-woman are among the highlights
in this inspired series of illustrations. The Prehistoric World of
William Stout is a personally signed and numbered limited
edition of 1,100 copies. Supply is limited at the original pub-
lisher’s price of: $25.00
Neal Adams Set A. A vibrant full-color portfolio that features
Adams’ classic renditions of Tarzan. The Neal Adams portfolio
is designed as a 12-plate set. Set A features the first four
plates and a folder for all 12, packaged in an illustrated enve-
lope. Unsigned. $8.00
Neal Acfams Set B. The second four plates for the set, each
in rich color on coated stock. Illustrated envelope. Unsiqned.
$ 8.00
Neal Adams Set C. At last! The final set of the Neal Adams
portfolio is complete. Designed to be collated with sets A and
B, this portfolio contains plates 9 through 12. The subject
matter is the world of Tarzan and Edgar Rice Burroughs.
Adams’ paintings gleam with a life of their own. Each is full-
color on heavy stock, packaged in a cardboard-reinforced,
illustrated envelope. Unsigned. $ 1 0.00
15
Dragon Slayers — William Stout. Six black-and-white plates
plus illustrated folder and envelope. Limited to 1,000 signed
and numbered copies. Acclaimed fantasy illustrator William
Stout turns his artistic talents toward the awesome beasts of
mythology and their heroic slayers. From Sinbad and the Roc
to Hiawatha and the two-headed serpent to Siegfried and the
fire-breathing dragon, William Stout captures the magic, splen-
dor and savagery of a classic struggle. Each of the plates
showcases Stout’s detailed pen-and-ink style to full advantage,
using the finest reproduction methods available. Order now,
since this strictly limited edition is sure to sell out fast.
$25.00
The X-Men — Byrne, Fastner and Larson. The Marvel Super-
hero Portfolio series is the latest development on the comics
scene. They are the perfect complement to any comic book
collection. The premiere release features the Uncanny X-Men,
whose exploits have become the most-read in fandom. These
portfolios are high-quality, full-color action scenes, laid out
by John Byrne and meticulously finished with the dazzling
paint-and-airbrush work of Fastner and Larson. Each of the
four plates measures ll"xl4", and is printed on heavy
8-point coated board. Perhaps the best part of this exciting
new series in the bargain price: $6.95
MOUSE & KELLEY / DEAN / STARLI N
The Mouse and Kelley Portfolio. Stanley Mouse and Anton
Kelley are, as a collaborative team, responsible for producing
some of the most exciting album cover and concert poster art
of the past ten years. This portfolio reproduces eight of their
finest works in gorgeous, slick full color. Some of the pieces
included are: the fabulous winged horse from Steve Miller's
Book of Dreams album, the rare Grateful Dead Egypt concert
poster, two posters from the Wings Over America tour, and
*nuch more. Each of the plates measures a full 12" x 16" and
is packaged in a full-color folder. Imported from England,
supply is limited on this hot item. Unsigned. $15.00
The Roger Dean Portfolio. Roger Dean is often mentioned
as one of the premier fantasy artists in the world. His album
covers for Yes and Osibissa, among others, have sold millions
of copies. We are pleased to present the very finest work of
this top artist in portfolio format. Printed in full, yet subtle
color ranges on slick artboard, each of the eight paintings is
very suitable for framing, and measures a big 12"xl6".
Packaged in a color folder, this makes an excellent gift. Im-
ported from England, supply is limited on this item. Unsigned.
$15.00
World Without End — Jeffrey Jones. Jones is unquestionably
one of the premier illustrators of our time. His work is ex-
tremely well suited to the portfolio format. It's all here in
World Without End: the lush, romantic tones, the fascination
with the macabre, the subtle use of color and shade that has
made Jones such a remarkable talent. Four full-color plates
on coated art stock, packaged in an illustrated envelope. The
signed and numbered edition contains an extra black-and-
white plate, and is limited to 1 ,000 copies.
Unsigned: $10.00
Signed and numbered: $ 1 5.00
Metamorphosis Odyssey— Jim Starlin. Jim Starlin's graphic
story, Metamorphosis Odyssey, has won wide acclaim from
readers of Epic magazine, where it is serialized. In this full-
color portfolio, Starlin captures the vivid adventure and inter-
stellar majesty. of this groundbreaking saga. Metamorphosis
Odyssey consists of four full-color plates packaged in an illus-
trated envelope. The signed and numbered edition contains
an extra black-and-white plate, and is an edition of 1,000
copies. Unsigned: $8.00
Signed and numbered: $ 15.00
PACIFIC
COMICS
Pacific Comics Catalogue
Abbeville $3.95 Disney Books. Here are six fine, full-color
hardcover books, rectangular 7 " x 10" format. They are 32 to
46 pages in length on excellent white book stock. Now avail-
able.
Mickey Mouse Meets Robin Hood. $3.95
Mickey Mouse Joins the Foreign Legion. $3.95
Goofy Explores Cave Man Island. $3.95
Uncle Scrooge: Secret of the Old Castle. $3.95
Donald Duck and the Golden Helmet. $3.95
Donald Duck and the Magic Hourglass. $3.95
Adventures of a Modern-Day Unicorn — Phil Yeh. Gail is
an aspiring actress. . . Bernie is a struggling writer. . .Tisa is
a radical feminist. . .Frank is a UNICORN! In this whimsical,
yet up-to-date, tale told in graphics, they got from New York
City to San Francisco and finally Hollywood on their quest for
fame, fortune, and golf balls (Frank likes to play golf). 76
pages of detailed illustrations on quality stock. Perfect bound.
Rectangular format, 5'/2 " x 8 V 2 $4.95
Adventures of Fat Freddy’s Cat — Gilbert Shelton. Now for
the first time there is a big. 146-page paperback book on the
adventures of the fabulous furry feline.
4.95
MARVEL COMICS INDEXES CURRENTLY AVAILABLE
Part 9A: The X-Men
Part 4: Fantastic Four: 2nd printing
Part 5: Thor
Part 7A: Hulk
Part 7B: Sub-Mariner
Part 8 A: Captain America
Part 8 B: Iron Man
Part 9B: Daredevil (forthcoming)
C'i
iy8i K
Af I Ell MAN
After Man: A Zoology of the Future — Dougal Dixon. This
is a truly fabulous idea. Dougal Dixon has given himself the
intriguing task of creating a future evolution on our own
planet, closely based on species that exist at present. By wav-
ing a time-wand and eliminating today’s dominant species,
including man. we are able to see the startling result as the
lesser creatures become the major occupants of the Earth's
surface.
Setting his scenario 50 million years in the future, he has
given the members of his new animal kingdom time to undergo
dramatic changes in structure and behavior. He has created
his fauna of the future so painstakingly that each kind of
animal teaches us an important lesson about the known pro-
cesses of past evolution. Bv introducing us to fictitious ex-
amples of these factual processes, this book is not only great
fun to read, but also has teal scientific value. There are over
150 superbly detailed illustrations, including 80 in full color.
Plunge into an unseen vision ol the future!
$14 95
After Image— Frank Brunner. We have picked up a stock of
this fanzine-style book collection of the arl of comic artist and
fantasy illustrator Frank Brunner Printed on heavy stock this
item features full-color coated covers and a slick fom page
17 color center section. There is also a checklist of Brunner's
comic work. Nice item. 5.00
Pacific Comics Catalogue
Animation Book
Bariowe's Guide
The Animation Book — Kit Laybourne. Profus
with stills and drawings from cartoons, this ex'
also an excellent resource guide. 8'/2"xl0%‘
150 black and white photos, 75 line drawings.
Paper. 9.95
The Art of Heavy Metal — Carl Macek. The Heavy Metal
Movie is a major animated film release for autumn. The film is
divided into eight complete segments, based on stories for
the magazine by artists such as Richard Corben, Berni Wright-
son, Angus McKie, and five other top talents. This book tells
the tale of the massive production effort that used studios and
talents from London, Canada, and the United States. Over 80
glistening color plates and hundreds of black-and-white illus-
trations make this one of the hot trade-paper art collections
of the season. Shipping late July to coincide with the August
release of the film. Measures?" x 10", 128pages. $9.95
The Best of Archie — Created by John Goldwater. Edited
and with an Introduction by Michael Uslan and Jeffrey Mendel,
with 224 color reproductions from Archie comic books. This
is a lavish, full-color celebration of the only comic-book char-
acter whose sales, even today, equal those of Superman,
Spider-Man, Batman and Wonder Woman. The Best of Archie
adds yet another dimension to this beloved character, and
indicates the development and historic importance of the strip
and its characters. Includes a bibliography and index to all
Archie comic book titles. 7 " x 10", 256 pages.
Trade paper. 7.95
The Art of John Byrne — 72 pages, full-color covers, w
color center section. Byrne has created a brand new 25-
story for this book. Portfolio section of new work by E
inked by X-Men co-artist Terry Austin. In-depth interview
plete with photos.
5.95
The Art of
JOHN DYRNE
1982 CALENDARS
1982 CALENDARS
Here is the cream of the crop of next year’s calendars.
Star Trek 5.95
Dragon 5.95
I Hate Cats 4.95
Boris 5.95
KlibanCats 4.95
Bo Derek 7.95
Living Unicorn 7.95
Frank Frazetta 6.95
Tolkien 6.95
Garfield (wall) 4.95
Garfield (desk) 6.95
Cosmic (Carl Sagan) 7.95
Masquerade 7.95
James Dean 6.95
New Horizons 9.95
Visions of a New World
9.95
Unicorn (wall) 6.95
Unicorn (desk) 8.95
Rainbows 7.95
Atlantis (Hildebrandt) 7.95
Good Eats 5.95
Whales 5.95
China 5.95
Horses 5.95
In the Company of Cats
5.95
Bless the Beasts 5.95
Art of John Buscema. Popular fanzine-format presentation.
3.00
Art of Neal Adams Vol. 2. Popular fanzine-fbrmat presenta-
tion. 3.00
Boris: The Fantastic Art of Boris. A fantastic trade edition
book from Ballantine. A must for Boris fans. $9.95
Cartoon History of the Universe— Larry Gonick. The funny,
well drawn, and accurate comic book series of “history as it
really happened" is being collected into comic book form by
Rip Off Press. This squareback book contains the first two
comic volumes. Great stuff for all ages. $6.95
Zippy 1982 Calendar. Yow! Trip through the year with Zippy.
Special feature includes four perforated postcards to send to
friends. Available for immediate shipping. Great price, too.
4.95
18
Cat People
Pacific Comics Catalogue
Comics Journal *63
Swords of Cerebus. Long-awaited trade paperback releas«_^-5o
vol. i
Squarebound edition reprints the first four issues of Cerebus,
which as you know are long out of print collector's items. But
that's not all! There is a brand-new 10-page story that is a col-
laboration between Dave Sim and Marshall Rogers. 140 pages,
color covers, black-and-white inside.
5.00
Swords of Cerebus Vol. 2 5.00
New Casey Ruggles. Exciting dramatic stories coupled with
crisp, beautiful art make Warren Tufts' western saga, Casey
Ruggles, one of the best American story strips. Pacific
Comics Club is proud to announce three more volumes
reprinting Casey Ruggles dailies, produced in conjunction
with Western Wind Productions. Six complete stories in
oversize 9’/2 " x 13.V4 " volumes.
The Pearl Galleon. 6.95
The Marchioness of Grotnek.
6.95
The Whisperer. 6.95
Colorvision — Ron Cobb. Compendium of paintings, drawings,
sketches, and designs from this top artist, whose credits in-
clude Dark Star, Star Wars, Alien, and the forthcoming Conan.
Oversize trade paperback- 15.95
Casey Ruggles— Warren "Gifts.
Vol. I. The Spanish Mine (Dailies 1/16/50 to 8/19/50). 54
pages. 12.95
Vol. II. The Porno Uprising (Dailies 11/20/50 to 5/12/51).
11.95
Vol. III. Juan Soto (Dailies 5/14/51 to 10/9/51).
The Comic Strip Frazetta. New book reprints the best
comic-book art by Frank Frazetta. - This strong collection
comprises the White Indian, Durango Kid, Louie Lazybones,
and the unparallelled “Clntamed Love” story. Legal material.
All black and white; color cover.
5.00
White Indian— Frank Frazetta. The Frazetta White Indian
stories are classics of comic art. They are now assembled into
a single magazine-format edition by the publisher of The
Comic Strip Frazetta. Color covers, 56 big, white pages. Ships
late September.
Cobb Again! — A second great volume. T rade paper.
6.95
The Collected Adventures of Jesus— Foolbert Sturgeon.
The new adventures of Jesus stand as classics of the under-,
ground comix genre. The foibles and pretensions of our mod-
ern-day world are lampooned by the scraggly returned messiah.
Squarebound, in the format of Best of Rip Off Press.
6.95
Cinefex *1. Great SPFX coverage on Star Trek and Alien.
$3.50
Cinefex *2. Behind the scenes on The Empire Strikes Back.
also John Dykstra and Greg Jfjn. $3.50
Cinefex # 4. Outland and Altered States are featured.
Cinefex *5. In depth article on Ray Harryhausen. Also a
feature on Caveman. $3.95
Cinefex *6. Coming from Cinefex is the coverage you've all
been waiting for— Raiders of the Lost Ark-.
Comanche Noon — Jack Jackson. A superb graphic novel in
all respects. Recommended. Signed and numbered deluxe
hardcover. 1 5.09
Comics Journal *63. Extra special issue features a cover
and long interview with Wendy Pini. This is the biggest issue
of The Comics Journal ever. There is a special feature, over
60 pages of previously unpublished material by Harlan Ellison,
profusely illustrated. The rest of the issue is jammed with all
sorts of special features. Pound for pound, the best buy on
the shelves. $4.95
19
Deceivers
Pacific Comics Catalogue
Dick Tracy
The Deceivers— Alfred Bester. A new novel by Alfred Bester
is always an event. He is an acknowledged master of the SF
genre, and the author of two all-time classics. The Stars My
Di'slination and The Demolished Man. This new interstellar
adventure will be published in October 1981. The handsome
trade edition features over 30 interior illustrations
Trade paperback measures 5 V« " x
8 'A ", 256 pages. $5.95
Dan Dare — New Big O paperback in luxurious color. Dan
Dare is the most popular British science-fiction strip. Adven-
ture and a witty story. Trade paper.
9.95
Dan Dare # 2: Rogue Planet. Frank Bellamy’s classic, full-
color British SF comic strip plunges forward into the future in
another great volume. Dan and his men face their ultimate
test in the cosmos of Los. T rade paper.
9.95
Detectives, Inc.— Don McGregor and Marshall Rogers. The
long-awaited graphic novel by these two top talents is now
available at last. This presentation, published by Eclipse, is
sure to set new standards for the burgeoning graphic novel
format. $6.95
DiFate’s Catalog of SF Hardware — Vincent DiFate & Ian
Summers. Ian Summers is co-producer of Barlowe's Guide to
Extraterrestrials, one of last year s best-selling trade paper-
backs. Tflis time around, the focus is on the wild array of
futuristic hardware from the classics of science fiction. Pro-
fusely illustrated and diagrammed in color and black-and-
white. 8% " x l7) ", 1 60 pages.
Trade paperback: $8.95
Collector's hardcover: $17.95
Perigee Fantasy Art Books. We are now able to offer these
four fine fantasy art volumes at a super reduced price. Sales
were brisk on these titles at the original $10.95 price. Your
sales should double or triple at this new bargain price of
only $6.98@.
Rick Griffin — Rick Griffin. 6.98
The Darkover Concordance — Walter Breen. There are over
2 million of the immensely popular Darkover novels in print.
The Darkover Concordance, authorized and introduced by
Marion Zimmer Bradley, is an informative and entertaining,
extremely comprehensive concordance of the first eleven
Darkover novels, from The Sword of AldonesXo The Forbidden
Tower. The Darkover Concordance is a large, 8 Vi " x 1 1 " trade
paperback with a sewn binding and a doubly-varnished cover
to insure that it will withstand years of use.
8.95
3-D Eye — Michael English. 6.98
Dick Tracy: The Thirties (Tommy Guns and Hard Times)
— Chester Gould: ed. by Herb Galewitz. In fourteen complete
adventures, reprinted here for the first time on over 35 years,
the straight-shooting, square-jawed nemesis of crime stalks
the weirdest collection of rogues ever to grace a police blotter
or comic page. Here is an affordable collection of the prime
strips.of a member of the comics medium's hall of fame. Trade
paperback, 10" x 9", 285 pages.i $9.95
Dragons of Darkness. Fabulous companion to Dragons of
Light. Collects top authors and pairs them with the finest
fantasy illustrators. An Ace trade edition. Available October.
6.95
20
Pacific Comics Catalogue
Stephen King
FEAR ITSELF
The Horror Literature of Stephen King
Fear Itself: The Horror Fiction of Stephen King. Why is it so
much fun to be scared out of your wits? What makes King’s
fiction ring true to people in all walks of life? Why are his
characters so real to us? What makes Stephen King— with
20 million copier, of his books in print in seven years— the
biggest-selling author on the planet 9
Millions of reatie's v-ho have enjoyed Carrie, The Shining,
The Dead Zone, and Firestarter are eager to explore the in-
ner workings of King’s fiction. Fear Itself is a non-fiction
book that enlightens the dark recesses of King's stories.
How does he strike the right chords that grip the reader
from beginning to end? Fear Itself explores the causes and
effects of King’s own brand of fiction. These eight essays
take the first critical look at the entire scope of King’s lit-
erature— from his short stories published before his first
novel Carrie, through his popular novels, to his most recent,
forthcoming work — The Dark Tower.
Stephen King, shaped by the forces of our times, has in-
fluenced the tone and tenor of popular literature. The 1970s
and 1980s belong to King. This is a book whose time has
come. Discover Fear Itself now. Av* liable October.
13.95
Philip Jose Farmer
The Unreasoning Mask is the story of Ramstan,
captain of al-Buraq, a rare model starship. It is
capable of alaraf drive: instantaneous travel between
two points in space. Three of these special ships
were built to explore and make contact with the
many sentient races inhabiting the universe. Sud-
denly, one of the ships mysteriously disappears.
And then it is discovered that an unidentifiable
"creature" is marauding through the universe, anni-
hilating intelligent life on planet after planet.
Ramstan, a thoughtful and moral man, becomes a
fascinated yet reluctant pawn in the hands of the
strange forces which arise to fight the deadly de-
stroyer. Ultimately, he is the one man who, in a
fearful race against time, can stop the destruction.
But what price must he pay for becoming the savior
of intelligent-kind? The Unreasoning Mask is
Farmer at his best— fast-paced, complex, slightly
mystical, high-action adventure. ]2 .95
Fantastic Art of Frank Frazetta, Volume I.
96 pages 8.95
Frazetta Vol. Ill— $7.95
Frank Frazetta: Book Four. The legendary Frank Frazetta
has adder} a fourth fabulous book to his already-classic series
of trade paperbacks. Frazetta 4 contains 31 full-color plates as
well as black and white drawings. 9 " x 1 1 54 "• 96 pages.
8.95
21
Limited deluxe boxed edition
of 500 numbered and
autographed copies.
45.00
Pacific Comics Catalogue
ALSO AVAILABLE:
The Spirit and Lady Luck ©Will Eisner, by permission
Modesty Blaise© Express Newspapers Ltd., by permission.
AXA — $5.95 NEW! Valkyrie — $5.95
22
t
;he BoBCner Norton Press is proud, to announce the publication of Donald M. Rene's R. Crumb
Checklist This ma!or 192-page work presents the total Crumb oeuvre: every aspect of Crumb's
career has oeen exhaustively researched and catalogued, and full indexes cover Crumb's periodicals
comic books, fanzines, tabloids, books, translations and foreign publications
Chapters also cover anthologies containing Crumb work. |U venalia. work for American Greetinqs
Lorp., shows and exhibitions, record covers and records, as well as graphics of Crumb writinqs
about Crumb, and reviews of Crump's books
And MUCH MUCH MORE
Special features include:
* Full color-process covers
* Four page color insert with unpublished Zap cover
•Thirteen-page 1 1 7-panel visual guide to R. Crumb's characters
Over 30 pages of rare full-page illustrations from sources most collectors have only
heard about NOPE #6, Zany Typhoons. Helicon — early 60s fanzine covers, rare small
press illustrations, and long-lost strips from the mid-60s.
* Post-introduction comment by Crumb himself.
Completely typeset on BO lb white stock, sewn-bound in 7x10 format, the Checklist is designed to
test through hours of enjoyment and hard use 1 Galleys are now at the printer: the book will be
delivered in late August
Limited Hardcover edition Retail: $35.95.
Softcover edition Retail: $10.95
s 1 .75 postage and handlir
THE R. CRUMB CHECKLIST
By Donald M. Flene
NAME _____
ADDRESS
CITY /STATE /ZIP
a®. ..
%
it
PACIFIC COMICS
DISTRIBUTORS
4887 Ronson Court, Suite E
San Diego, California 92111 2
In Search of Reagan’s Brain
Pacific Comics Catalogue
Madwand
In Search of Reagan's Brain— Garry Trudeau. Here is a
new collection of political satire featuring the Doonesbury
gang. These strips were done during the presidential cam-
paign. and this really brings out the stinging best in Trudeau.
Available September. Trade paperback. 6'„"x8 'i". 128
pages. $4.95
Johnny Hazard— -Frank Robbins. Frank Robbins' finest hour
was the powerful Sunday pages of the Johnny Hazard news-
paper strips. These pages are action-packed from start to fin-
ish. The art shows a strong Milton Caniff influence. Each book
is a full year of Sunday strips in their original half-page size.
Excellent reproduction in beautiful full color. Each book is 68
pages, squareback. 9'/2 " x 15'/2 ". There are two volumes,
limited offerings from the Pacific Comics Club.
The Gold of Thai (4/ 1 9/53 through 7/4/54).
15.00
The Abominable Snowman (7/1 1/54 through 8/2 1/55).
15.00
Four New Collections of Johnny Hazard Dailies. Each
8'/ Z " x 1 1 " book has black-and-white insides, two-color covers.
Each book averages 64 pages. Frank Robbins art.
War in the Orient (5/6/44 through 31/5/45).
4.95
Sidepockel Sam (1/6/45 through 16/5/46).
4.95
Flying Freight Mystery ( 1 7/5/46 through 8/2/47).
4.95
Tangier a la Carte ( 1 0/2/47 through 15/1 1/47).
4.95
Mutants — Berni Wrightson. This trade paperback reprints
Wrightson's fanzine work. This is some of his most
inspired art, and the original ’zines in which they appeared are
very hard to find. 96 pages.
License Renewed — John Gardner. Ian Fleming's James
Bond returns, surprise, surprise! A brand new James Bond
adventure in a major hardcover release, now available! James
Bond is back, but he has changed. Mellower, tempered in his
vices — his cigarettes have been replaced by a new ultra-low
tar tobacco — he is more in tune with his body, and drinks
less. But this does not prevent him from preventing nuclear
holocaust in a gripping adventure that races through England
from the Ascot Races to the Scottish Highlands. Full-size
hardcover from Putnam, approx. 250 pages.
9.95
Kingdom of the Dwarfs, in 1979, an archeological team in
northern England discovered the entrance to an underground
ruin. The incredible civilization that reveals itself in this fabu-
lous edition is recreated not as lifeless ruins, but with all the
vitality and beauty they once possessed. Text by Robb Walsh,
art by David Wenzel. 25 full-color illustrations, many more in
black and white. Trade paper.
8.95
The Lingerie Book — Michael Gray. Text by Mary Kennedy.
Lingerie as a once-secret emblem of a woman s sexuality is
the focus of this book. In .a series of stunningly beautiful
photographs, most in full color. The Lingerie Book records
the evolution of modern woman from submissive in 1900 to
self-assured in 1980. The photographs, which show top cur-
rent models in authentic period lingerie, are at once provoc-
ative and evocative, conjuring up the wildest (or. most inno-
cent) of fantasies and providing a nostalgic peek at how she
once looked— beneath it all. The sophisticated, tongue-in-
cheek text serves as a guide to this dazzling journey through
fashion's most beautiful realm. Hardcover with dustjacket.
9'A "x 12'/4 ". $19.95
Madwand— Roger Zelazny. The sequel to Zelazny s tremen
dous novel. The Change,!™,. This Ace trade edition IsTo
Sp, “ be? ° ' ,rni,ed editi ° n fr ° m Phamasia Press Available
$6.95
24
Odyssey Publications
Pacific Comics Catalogue
Overstreet Price Guide
ODYSSEY PUBLICATIONS
Odyssey Publications are "full count” facsimile republications
of classic pulps. They have chosen truly prime examples of
these fantastic magazines, forerunners to paperback books
and comics. All are of a high quality. They measure 5%" x 8 'A "
and feature heavy color covers. They are perfect bound. Here
is the way to enjoy the unique feel and adventure of the classic
pulps without worrying about a valuable issue turning to dust
in your hands.
T. X. O’Leary’s Warbirds. April 1935 issue of this science-
fictional extension of War Birds. Great stuff, features "O’Leary.
Dyno-Blaster." $4.50
Oriental Stories. Early 1930s. Features a Margaret Brundage
cover of an exotic Indian dancer. Stories include "The Dragon-
man’s Slave Girl" by O. A. Kline and “The Voice of El-Lil" by
R. E. Howard. Much more. $4.50
Ka-Zar. October 1936 issue. Marvel fans will enjoy this re-
print of the original Ka-Zar, who was revived by Stan Lee in
1 965. Four other jungle action short stories. $4.50
Strange Tales. September 1931 issue. Strange Tales came
into being as an answer to Weird Tales. It featured many of the
same authors, as this reprint shows. Includes “People of the
Dark" by R. E. Howard, "Wolves of Darkness" by Jack William-
son, “Dead Legs" by Edmond Hamilton, much more. $4.50
Spicy Mystery Stories. July 1936 issue. These pulps are
prized by collectors, if only for the "good girl" covers by H. J.
Ward. This facsimile issue is no exception, andalso contains
tales such as "Her Demon Lover," "She From Beyond," and
"The Devil's Mistress.” $4.50
Mystery Adventure. October 1936 issue. Mystery Adventure
was unusual in that it was a potpourri of virtually all genres of
the pulps, from horror to westerns to science fiction. Beautiful
good girl / action cover by Norman Saunders. $4.50
Magic Carpet. 1934. The previously listed Oriental Stories
was repackaged as Magic Carpet. The magazine in this format
fell somewhere between Weird Tales and Oriental Stories. This
issue has several unique features: a Margaret Brundage cover.
"The Kiss of Zoraida” by Clark Ashton Smith, and "Alleys of
Darkness” by R. E. Howard writing as Patrick Ervin. $4.50
Secret Agent X. September 1934 issue. Subtitled The Man of
a Thousand Faces, this facsimile edition chronicles the harrow-
ing adventures of one of the most fascinating, mysterious
heroes of pulp fiction. This issue features a book-length tale:
"Octopus of Crime." $4.50
Oath of Fealty — Larry Niven and Jerry Pournelle. Niven and
Pournelle have combined once again to produce a gripping,
realistic, and adventurous novel of the near future in the spirit
of their two best-sellers, Lucifer's Hammer and The Mote in
God s Eye.
Todos Santos is an arcology, a self-contained community
in a single magnificent structure two miles on a side. Financed
by a European consortium as an investment, it operates as an
independent political and economic entity, self-policing and
almost entirely self-sufficient. The shareholder/residents ac-
cept the possibility of total surveillance and benign control in
return for total protection. Not a bad bargain in the world of
uncontrollable street crime, except that Todos Santos is built
inside the city of Los Angeles, on the site of a former slum
destroyed in a major race riot. It stands to outsiders as a sym-
bol of exclusion and privilege; Come in and see the wonders
of our world-within-a-world but stay only if you qualify and if
you accept our terms.
And the trouble explodes: The son of a city councilman is
killed by the security system in a prank sabotage raid on Todos
Santos. Their secret defenses revealed, one of their executives
charged with murder, the managers of Todos Santos must
protect themselves against the real terrorists who are deter-
mined to destroy them and the political and legal system
which threatens to drain their wealth and independence.
In the stunning conclusion, they accept their ultimate res-
ponsibility and exercise the full extent of their vast power for
the first time, creating a new dynamic for dealing with the
world outside their walls, a solution that is both illuminating
and thought-provoking. Are we headed toward it?
This Simon and Schuster hardcover will be available im-
mediately upon publication in mid-September 1981. It mea-
sures 5'/2"x8 7 /i 6 ", and is 352 pages long. There is a special
collector s edition listed on the Phantasia Press section of this
catalogue. The Simon and Schuster edition is: $ 1 4.95
1981 Overstreet Comic Book Price Guide. This is the
11th edition of the "bible" of the industry. L. B. Cole cover
and feature article. Over 1,000 covers illustrated. Market
trends, retailer listing, much more. Over 600 pages. Soft-
cover. $9.95
25
concepts, from Robbie to C-3P0. 100 pages.
6.95
Spaceships. Interstellar transportation is the theme of this
impulse item. 2.95
Space Art. The galaxies unfold in this excellent production.
Panoramas of breathtaking other-worldly landscapes.
8.95
New Starlog Photo Guidebooks. Two new releases in this
popular series. Due hot off the presses in October.
Demons & Deoils 8.95
Special Effects, Vol. Ill 8.95
Science Fiction Toys and Models. NEW. Here, for the first
time, is a comprehensive photo catalog of ray guns, flying
saucers, mechanical robots, spaceships, hobby kits — from
Buck Rogers rocket skates to Captain Video space gadgets,
all the way to the latest Star Trek and Star Wars merchan-
dise. 32 pages. Color throughout.
3.95
Special Effects. The wizardry of modern Hollywood tech-
nology has brought the impossible to the silver screen. This
100-page volume examines the behind-the-scenes world of
special effects in fascinating detail.
6.95
SF Weeipons. The armaments of space heroes are examined
in this latest volume. 3.95
SF Heroes. 34 pages. 3.95
SF Villains. 34 pages. 3.95
Special Effects, Volume 2. Huge colorful compendium. 96
pages. 7.95
Spaceships. New enlarged edition. 96 pages.
7.95
Science Fiction Television, Volume I. Latest in the fast-
selling Starlog Photo Guidebook series, this new volume focus-
es on science-fiction television with a total of 96 fact-and-
photo-packed pages (32 in full-color). The book is based on
the most consistently popular feature in Starlog magazine —
the TV episode guides. Perfect bound, 8 V 2 " x 1 1 ".
7.95
26
The Art of Jim Fitzpatrick. This truly is one of the nicest portfolios we have ever carried.
Eight superb full-color illustrations are exactingly reproduced. Each measures a big
1 1 V 2 " x 16 3 /4 They are packaged in a gorgeous full-color, silver-embossed folder, which
is wrapped in plastic. The back cover pictures all eight of the interior pfates in color, so
the retailer doesn't have to open the portfolio to display the plates. The portfolio is
signed by the artist on the first plate. The work is superbly detailed, calling on the beauty
and savagery of Celtic myth for inspiration. But perhaps the most impressive feature is
the price — The Art of Jim Fitzpatrick retails for an incredible $15.00. Sure to be the port-
folio of the season.
PACIFIC COMICS DISTRIBUTORS
4887 Ronson Court, Suite E
San Diego, California 92111
27
PACIFIC COMICS
DISTRIBUTORS
4887 Ronson Court, Suite E
San Diego, California 92111
Phone:(714)560-0203
DELUXE HARDCOVER BOOKS
SILVERBERG ZELAZNY VANCE
As the collector market grows, we are finding sales increasing on a number of very fine book produc-
tions. The prices of these books limit their market to some degree, but we feel that in each case the
item is well worth the price. If. upon receipt, you do not agree, please let us know. Satisfaction
guaranteed.
The Desert of Stolen Dreams — Robert Silverberg. Illustrat-
ed by Stephen Fabian. We are now taking orders on the sum-
mer releases from Gnderwood/Miller publishers. These are
high quality hardbound editions, printed in very small, limited
runs. They go out of print quickly upon publication and gen-
erally increase in value. We are offering the 800-copy trade
hardcover edition of this new title
The Book of Dreams — Jack Vance. This is'book five in the
acclaimed Demon Prince series. Frontispiece by Broecker.
500-copy trade hardcover, available
15.00
The Changing Land — Roger Zelazny. This book is a smash
in mass-market paperback format. June 1, 1981. (Jnderwood/
Miller will release a limited hardcover edition. This is an im-
portant book, in which Zelazny establishes an exciting new
hero who has actually returned from Hell: Dilvish the Damned.
A stunning dustjacket by Tom Canty highlights this hardcover
trade edition, which is limited to only 800 copies.
14.95
Ring of the Nibelung — illustrated by CJI de Rico. This is one
of the most startlingly beautiful books we have seen in quite
some time. The story is Wagner's timeless opera, which has
been an inspiration to illustrators since its creation. The thirty
color paintings are breathtaking. G1 de Rico won worldwide
acclaim for his first book. The Rainbow Goblins. This one far
surpasses that effort. The reproduction is superb. A clarity
and depth of color is achieved that is truly remarkable. Every-
thing about this book is of the highest quality. Stores that
stock this book have reported outstanding sales. Could well
prove to be the gift book of the year.
39.95
Leg Art — Lacy E. Morgan. “Good girl" lovers rejoice! Here is
a brand-new hardcover compilation of sixty years of Holly-
wood cheesecake. In the budding days of the movie industry,
the people who produced and promoted films concluded that
photographs of undraped or semi-undraped beauties gave
sales of their products a valuable boost. Thus “leg art” or
“cheesecake ' was born. Leg Art is a glowing, loving homage
to these stars and starlets, both world-famous and unknown.
The more than 500 photographs in this book, most of them
exceedingly rare, are from the collection of the late Madison
S. Lacy, dean of Hollywood photographers. He did not intend
the book to be a documented chronology, but rather a visual
tribute. And this it is — an exciting, sexy treasury of some of
the world's most fabulous women.
$19.95
PHANTASIA PRESS
The Purple Pterodactyls— L. Sprague de Camp. Collected
here for the first time are fifteen stories of magic, sorcery and
the bizarre by the acknowledged master of humorous fantasy.
L. Sprague de Camp. These are the mysterious and inexplic-
able adventures of W. Wilson Newbury, the ensorceled finan-
cier. Willie Newbury has the knack of attracting all sorts of
other-world entities, but always manages to retain his poise
and often-taxed sense of reality.
Phantasia Press has published a deluxe trade edition, lim-
ited to 1.300 copies. The full-color dust jacket is by Vaclav
Vaca. a brilliant artist and a Phantasia Press discovery.
15.00
A Private Cosmos — Philip Jose Farmer. Volume Three of
the World of Tiers series. Hardcover trade edition, limited to
1.000 copies. June. 18.00
The Gates of Creation— Philip Jose Farmer. The second
novel in Farmer's classic World of Tiers series is now at the
printer and will be available by February. 1981. As with the
first volume, this deluxe edition contains a new introduction
by the author and has been corrected and revised. The Gates
of Creation is being bound uniformly with volume one and will
feature a stunning wraparound cover by George Barr. The
special hardcover trade edition is limited to 750 copies. 15.00
Madwand— Roger Zelazny. This. Zelazny's latest, is the sequel
to The. Changeling. The Phantasia Press hardcover is the fifst
edition, available only in a slipcase edition, signed and num-
bered by Roger Zelazny. Due to the tremendous response to
the Dream Park coven artist Rowena Morrill has again been
commissioned to paint the wraparound dustjacket. I imited to
only 750 copies. June/July.
28 3500
De la Ree Limited-Edition Art Books
DE LA REE QUALITY HARDC OVERS
We are quite pleased to offer the beautiful hardcover fantasy
art books published by Gerry de la Ree. These are very fine
books published in limited editions. Supply is always limited.
Satisfaction is guaranteed.
The Art of the Fantastic. Published in 1978. limited to 1 .200
numbered copies. Artwork by Hannes Bok. Virgil Finlay. Edd
Cartier, others. 1 5.50
More Fantasy by Fabian. Published in 1979. The second
volume of Stephen E. Fabian's artwork. Lovingly selected and
impeccably reproduced. Limited to 1 .300 copies.
15.75
The Fifth Book of Virgil Finlay. Published in 1979. Entirely
composed of drawings from Weird Tales. Limited to 1.350
copies. 15.75
The Sixth Book of Virgil Finlay. New book publication.
This volume is composed of Finlay's astrological drawings,
which are considered by manv to be his best work. Limited
edition. 15.75
Virgil Finlay Remembered. A selection of 98 illustrations,
compiled by publisher and Finlay expert Gerry de la Ree. None
of these illustrations has appeared in the Finlay series. There
is much more to this book, however. Also featured are mem-
oirs of Finlay by Lail Finlay. Harlan Ellison. Robert Bloch,
Steve Fabian. Sam Moskowitz. and Robert Lowndes. There is
also previously unpublished poetry by Finlay written in 1945.
A quality paperback, embracing the production values of the
other de la Ree books. This is limited to only 800 copies, and
our ftock is limited. First come, first served. 8" x 1 1". Avail-
able September. $10.00
FAX COLLECTOR'S EDITIONS
We are pleased to offer Fax collector editions to our custo-
mers. These are high-quality hardcover books, printed in'
small editions. Quantities are limited on some titles.
The Swords of Shahrazar— Robert E. Howard. Illustrated by
M. W. Kaluta. Robert E. Howard is well known for his heroes,
such as Conan. King Kull. and Bran Mak Morn. Kirby O’Don-
nell is not as well known, but he certainly deserves his
place alongside his fellow Howard protagonists. O'Donnell,
is an Irish-American who wanders the Far East. He wears
the dress and adopts the customs of the natives. He is a
hard-woven mass of wiry muscle ready to explode into the
berserk fury that marks him as a Howard hero. This book
takes place in Afghanistan— a fascinating land that Howard
paints with mysterious colors. A superb adventure. Kaluta's
illustrations are also superb: truly some of his best work.
There are twelve full-page black-and-white illustrations, three
glistening color plates, numerous spot iilos, chapter head-
ings and the like, as well as a color dustjacket. A very nice
item. 12.95
Son of the White Wolf— Robert E. Howard. This fine hard-
cover features another of Howard's “unsung" heroes, Fran-
cis Xavier Gordon— El Borak. The colorful, adventurous
Gordon is one of Howard's native Texans who has found his
home in the mysterious middle Eastern desert and moun-
tain countries during the hectic times of the first World
War. His unquestioned ability with knife, gun, and curved
tulwar, which is always by his side, has won him recogni-
tion by all as El Borak— the Swift. These stories not only
evoke the nostalgia of the thirties, but are filled with the
glamorous, exotic names and places of which dreams are
made. The illustrations by Marcus Boas breathe rugged life
into the characters. Nine full-page black-and-white illustra-
tions and three lush color plates are featured, as well as
numerous chapter headings and spot iilos. With color dust-
jacket. 12.95
The Weird Tales Story— Robert Weinberg. It was in early
1923 that the first issue of Weird Tales appeared on the
newsstands. Within a year, the magazine was deep in debt
and prospects seemed dim for continued publication. Some-
how. the magazine survived. Until its death in 1954. it con-
sistently published the most important fantasy and weird
literature of the 20th century. The names are legion: H. P.
Lovecraft, Robert E. Howard, Edmond Hamilton. Clark Ash-
ton Smith, August Derleth. Margaret Brundage's fabulous
covers set a standard for pulps everywhere. Author Robert
Weinberg is a noted expert on the pulps. His lucid, enter-
taining writing reveals all the secrets behind this pulp
classic. A modern master of fantastic illustration. Alex Nino,
has created a profusion of illustrations for this volume-
full pages, endpapers, chapter headings, and the like. Quali-
ty 8 V 2 * x 1 1 " hardcover with dustjacket.
17.50
The Return of Skull-Face— Robert E. Howard & Richard A.
Lupoff. Robert E. Howard’s Skull-Face was a very popular
feature when it ran in Weird Tales in 1929. Howard started a
sequel to this tale of a sinister and shadowy Fu Manchu-
esque mastermind, but never completed it. The tale was fin-
ished by a brilliant star of modern fantasy: Richard A. Lupoff.
The result is a unique collaboration pn a gripping novel.
Noted illustrator Steve Leialoha has outdone himself, creat-
ing numerous full-page sepia illustrations, as well as a full-
color dustjacket. Very nice hardcover.
9.95
FAX COLLECTOR’S EDITIONS
29
The COSMOSPHERE
Suggested Retail Price: $19.95
The COSMOSPHERE is a guide to the stars.
The COSMOSPHERE is a precision device guaranteed accurate for
the next thousand years.
It combines a bowl-shaped metal star finder, designed for easy
identification of the stars and constellations on any date or time of the
night, with specially prepared information on astronomy written by
Carl Sagan. Packaged together in a book- like format, this product is for
general use. It has been designed and is being distributed by The COSMOS
Store, the marketing division of Carl Sagan Productions. Inc.
The COSMOSPHERE is a star atlas for everyone. Written in Carl Sagan's
lucid and effective style, it provides information about the stars, planets,
stellar maps and constellations. The reader is gfveh specific objects and
events to look for. Planetary movements are specified through 1990.
Compact and light-weight, the COSMOSPHERE can be used by the entire
family on vacations, while hiking or camping, or for backyard viewing.
VISIONS OF THE UNIVERSE
Suggested Retail Price: $29.95
Striking, meticulously accurate portraits of planetary and stellar
landscapes by the Japanese artist Kazuaki Iwasaki, with a text by famed
science writer Isaac Asimov. Preface by Carl Sagan. This is a deluxe,
hardcover large- format edition.
In Visions of the Universe we join Kazuaki iwasaki and Isaac Asimov on
a journey that begins near the Sun and ends among the galaxies. Here are
the graceful and intricate magnetic field lines of the Sun, traced by arches of
luminous starstuff; an exquisite glimpse of the Earth four biUion years ago,
a bloated voicanicaliy-active Moon filling the sky; two graceful manned
spacecraft of a few decades in the future, pirouetting towards a landing on
thejred planet Mars; an astonishing view of Saturn seen from the north pole
of i s airless moon Rhea; a contact binary star, with a foreground planet
illuminated by the red glow of spiralling star matter. These are landscapes
etcl ed by gravity and time. This is, pretty closely, how the universe is.
B; ' studying these 46 paintings, by imagining that we have somehow.
j VISIONS OF
[ the universe I
, KAZi \kf IVV\K\ki
p isvvr asimov
CAW. .HViVN j
miract.
Of th£
universe and ourselves. Within these pages many adventures wait.
"COMBINE THE LATEST ASTRONOMICAL
FINDINGS WITH THE IMAGINATION OF
A GIFTED ARTIST AND YOU HAVE
THE PAINTINGS OF KAZUAKI IWASAKI/'
—Isaac Asimov
The COSMIC CALENDAR 1982
Suggested Retail Price: $7.95
Conceived by Carl Sagan
The COSMIC CALENDAR is a history of the universe and a useful calendar
for 1982.
x The COSMIC CALENDAR compresses the 1 5 billion year history of the
Cosmos into a single calendar year. On this scale of time, each month stands
for 1.25 billion years and each day represents some 40 million years.
The COSMIC CALENDAR includes fourteen new 1 1 " x 14" paintings by Adolf
Schailer, the gifted artist who worked on the PBS television series, COSMOS.
These paintings accurately reflect scientific knowledge about the events in each
time period and are accompanied by an explanatory text. Since most of the
events we know about occur during the last month of this cosmic year, an
extended December 31 has been included. There are two paintings covering
December. One is a two-page fold-out that is suitable for framing. '
Here is a way to discover our cosmic evolution and our deepest roots on
every day of the year.
Pacific Comics Catalogue *1 6
□ Heavy Metal Cel Portfolio $70.00
□Heavy Metal Pencil Art Portfolio $25.00
□ Purple Pterodactyls $15.00
□ Dream Park $15.00
□ Reign of Wizardry $15.00
□ Humanoid Touch $35.00
□ Maker of Universes $15 00
□ Gates of Creation . ... $15.00
□ Private Cosmos $18 00
i Madwand $35 00
nOath of Fealty $35 00
□ Desert of Stolen Dreams $15.00
□ Book of Dreams $15.00
□ Changing Land $14.95
□World Encyclopedia of Cartoons $39.50
□ Leg Art $19.95
□ Ring of the Nibelung $39.95
□ In Pursuit of the Unicorn $25.00
□ Last Castle $20.00
□ Russ Cochran EC Wei rd Science $65.00
□ Russ Cochran EC Shock Suspense . . $55.00
□ Swords of Shahrazar $12.95
□Son of the White Wolf $12.95
□ Weird Tales Story $17.50
□ Return of Skull-Face $9.95
□ Heroes, Heavies & Heroines $6.00
BOOKS
□ Mickey Mouse Meets Robin Hood $3.95
□ Mickey Mouse / Foreign Legion $3.95
□ Goofy Explores Cave Man Island $3.95
□ Uncle $crooge / Old Castle $3.95
□ Donald Duck / Golden Helmet $3.95
□ Donald Duck / Magic Hourglass $3.95
□ Rick Griffin $6.98
□ 3-D Eye $6.98
□ Adventures of a Modern-Day Unicorn . . $4.95
□ Adventures of Fat Freddy’s Cat $4.95
□ After Man $14.95
□Afterimage $5.00
□ Animation Book $9.95
□Art of John Byrne $5.95
□Art of John Buscema $3.00
□Art of Neal Adams II *. $3.00
□Starlog Aliens $5.95
□ Starlog Fantastic Worlds $5.95
□ Starlog Robots $6.95
□Starlog Spaceships $2.95
□ Starlog Space Art $8.95
□Starlog SF Toys and Models $3.95
□Starlog Special Effects $6:95
□Starlog SF Weapons $3.95
□ Starlog SF Heroes $3.95
□ Starlog SF Villains $3.95
□Starlog Special Effects 2 $7.95
□Starlog Spaceships (enlarged) $7.95
□Starlog SF Television $7.95
□Art of the Fantastic $15.50
□ More Fantasy by Fabian $15.75
□ Virgil Finlay 5 $15.75
□ Virgil Finlay 6 $15.75
□Virgil Finlay Remembered $10.00
□ Bathing Beauties .$7.95
□ Best of Archie ' $7.95
□ Bo Derek Book $7.95
□ Fantastic Art of Boris $9.95
□ Cartoon History of the Universe $6.95
□Cinefex 1 $3.50
□ Cinefex 2 $3.50
□Cinefex 4 $3.50
□ Swords of Cerebus 1 , . . $5.00
□ Swords of Cerebus 2 $5.00
□Casey Ruggles / Pearl Galleon $6.95
□ Casey Ruggles / Marchioness $6.95
□ Casey Ruggles /Whisperer $6.95
□ Casey Ruggles / Spanish Mine $12.95
□ Casey Ruggles / Porno Uprising $11.95
□Casey Ruggles / Juan Soto $10.95
□ Comic Strip Frazetta $5.00
□ Frazetta White Indian $5.00
□ Colorvision $15.95
□ Cobb Again! $6.95
□ Collected Adventures of Jesus $6.95
□ Comanche Moon $15.00
□ Comics Journal 63 $4.95
□ Cosmosphere $19.95
□ Visions of the Universe $29.95
□ Cosmic Calendar 1982 $7.95
□ Deceivers $5.95
□ Dan Dare 1 $9.95
□ Dan Dare 2 $9.95
□ Detectives, Inc $6.95
□ Darkover Concordance $8.95
□ DiFate Catalogue (trade) $8.95
□ DiFate Catalogue (hardcover) $17.95
□ Dick Tracy /Thirties $9.95
□ Deadbone $15.00
□ Dinosaur Dictionary (trade) $7.95
□ Dinosaurs (Stout) $9.95
□ Dinosaurs (deluxe) $39.95
□ Dinosaur Scrapbook $19.95
□ People's Doonesbury $10.95
□ Doonesbury’s Greatest Hits $7.95
□ Doonesbury Chronicles $7.95
□ Starblaze / Take-Off $4.95
□ Starblaze / Castaways in Time $4.95
□ Starblaze / Another Fine Myth $4.95
□ Starblaze / Myth Conceptions $4.95
□ Starblaze / Moon’s . . . Daughter $4.95
□Starblaze /Trouble. . .Earth People . . .$4.95
□ Starblaze /Shrouded Planet $4.95
□ Starblaze / We Are All Legends $4.95
□ Frazetta I $8.95
□ Frazetta II $8.95
□ Frazetta III $7.95
□ Frazetta IV $8.95
□ Fear Itself $13.95
□ Modesty Blaise / T raitor / Vikings $5.95
□ Modesty Blaise / Drake / Happy $5.95
□ Spirit I $3.95
□ Spirit II $5.95
□ Spirit III $5.95
□ Spirit IV $6.95
□ Lady Luck 1 $5.95
□ Lady Luck 2 $5.95
□ AX A $5.95
□ Valkyrie $5.95
□ In Search of Reagan’s Brain $4.95
□Johnny Hazard / Thai $15.00
□ Johnny Hazard /Snowman $15.00
□ Johnny Hazard /War in Orient $4.95
□Johnny Hazard / Sidepocket Sam $4.95
□ Johnny Hazard / Flying Freight $4.95
□ Johnny Hazard /Tangier $4.95
□ James Bond Strips $7.95
□ James Bond / License Renewed $9.95
□ Kingdom of the Dwarfs $8.95
□ Lingerie Book $19.95
□ Madwand (trade) $6.95
n Mutants $9.95
□T.X. O’Leary’s Warbirds $4.50
□Oriental Stories $4.50
□ Ka-Zar . $4.50
□ StrangeTales $4.50
□ Spicy Mystery Stories $4.50
□ Mystery Adventure $4.50
□ Magic Carpet $4.50
□ Secret Agent X $4.50
□ Oath of Fealty $14.95
□Overstreet Price Guide $9.95
□ Marvel Index 4 / Fantastic Four $4.95
□ Marvel Index 5 /Thor $4.50
□ Marvel I ndex 6 / Strange Tales $3.95
□ Marvel Index 7A/Hulk $3.95
□ Marvel Index 7B/ Sub-Mariner $3.95
□ Marvel Index 8A / Captain America $5.50
□ Marvel Index 8B/iron Man $4.50
□ Marvel Index 9A / X-Men $5.95
□ Marvel Index 9B/ Daredevil $5.95
□ Elfquest Trilogy (trade) $9.95
□ Elfquest Trilogy (deluxe) $35.00
□ Elfquest Gatherum $6.95
□ Elfquest 1 $1.50
□ Elfquest 2 $1.50
□ Elfquest 3 $1.50
□ Elfquest 4 $1.50
□ Elfquest 5 $1.50
□ Elfquest 6 $1.50
■» □ Elfquest 7 $1.50
□ Elfquest 8 $1.50
□ Elfquest 9 $1.50
□ Elfquest 10 $1.50
□ Spirit 17 i $1.50
□ Spirit 19 $1.50
□ Spirit 20 $1.50
□ Spirit 21 $1.75
□ Spirit 22 $1.75
□ Spirit 23 : $1.75
□ Spirit 24 $1.75
□ Spirit 25 $1.75
□ Spirit 26 $2.00
□ Spirit 27 $2.00
□ Spirit 28 $2.00
□ Spirit 29 $2.00
□ Spirit 30 $2.00
31
NAME
Subtotal
Your Number
Amount
Pacific Comics Cataloque *16
Last Castle $20.00
Wrightson: A Look Back $60.00
A Contract With God $15.00
Comanche Moon $15.00
Heavy Metal Cel Portfolio
Heavy Metal Pencil Portfolio
Art of Heavy Metal $9.95
Desert of Stolen Dreams $12.50
Book of Dreams $15.00
The Chanoina Land $14.95
Leg Art $19.95
Ring of the Nibelung $39.95
In Pursuit of the Unicorn $25.00
Purple Pterodactyls $15 00
auu wamor women $10.00
Rime of the Ancient Mariner Si? 00
The Gates of Creation $15.00
A Private Cosmos $18.00
Madvyand ...... . .J$j.Q0
$8 00
Forgotten Beasts of Eld $15.00
Rime of the Ancient Mariner $12.00
• s a Chiitl $20.00
Six Deadly Sins of Cerebus $12*00
Beyond Heaven and Hell $30.00
Dark Suns of Gruaga $1 5.00
Cody Starbuck (B&W) $10.00
'Curse of the Ring $12.00
Dragon Slayers $25.00
A Fatal Beauty $15.00
Erotic Visions $20.00
Dragons $25.00
Land of Shadows $100.00
Portfolio of Underground Art $40.00
Robin Hood $10.00
Obsessions $15.00
i Men. Maiden and Myths $12.00
Power and Glory $35.00
Strange $15.00
Voltar $15.00
Wizards and Warrior Women $12.00
Voyage of the Ayeguy $35.00
Seven Dreams of Sinbad $20.00
Warriors of the Shadow Realm $12.00
Don Maitz Portfolio $20.00
Apparitions $8.00
Apparitions (s&n) $15.00
Amazons $15.00
Batman $10.00
Children of the Twilight $8,00
Children of the Twilight (s&n) $15.00
Cody Starbuck $10.00
Cody Starbuck (s&n) $15.00
Orders shipped same day as received.
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ship's crew of nine are found to
have met mysterious and seem-
ingly violent deaths. Using her
powers, Alluma, senses a "pres-
ence” in the ship. Searching alone,
a frightened Cos confronts a terror
he later finds physically impos-
sible to describe to the others.
Joined by Dameia (Taaffe O’Con-
nell), the attractive, Amazon-like
ship's technician, the group scales
a high ridge which obscures the
planet’s terrain. Finally atop the
ridge, they freeze at the sight of a
gigantic, dark pyramid structure,
bisected with twisted tunnels. The
’pyramid is so high its top is par-
tially shrouded in the grey mist of
clouds. The group apprehensively
approaches, disturbed by the
pyramid's ominous presence.
Baelon discovers an opening
in the structure and presses the
group to scale the treacherous
walls. Lashed by an ever-increasing
wind, the party painstakingly makes
its way up the dangerously cre-
vassed surface. Eerie stirrings are
heard coming from within the dark
cracks of the pyramid's walls. As
the group reaches the entrance
they discover yet another dead
crew member from the ill-fated
Remus expedition.
The crew members then enter
the foreboding pyramid and em-
bark upon a nightmare odyssey
of horror, more devastatingly ter-
rible and real than anything they
have ever before conjured up in
their unconscious imaginations.
Executive producer Roger
Corman became fascinated with
the script because he envisioned
its premise as one which uniquely
illustrated the universal struggle
between fear and elusive imagi-
nation. Confident from his previ-
ous experience with Clark and
Siegler that this concept could
be executed into a haunting,
suspenseful and provocative ex-
perience, Corman was quick to
support the project.
The picture marks the second
feature to be shot at New World's
own stages, located in Venice,
California. Last year’s Battle Be-
yond the Stars proved to be a
successful maiden voyage for the
“new” New World production crew,
headed by Mary Ann Fisher.
“This time around shows a dis-
tinct improvement in every aspect
of the production, as we now know
every inch of the studio and all of
its special capabilities,” explains
Fisher. "We were also lucky to
have some of the special effects
team from Battle back with us,
including Bob and Dennis Skotak,
Jim Cameron and Brian Chin.”
Tight scheduling for shots de-
manded additional space for sets.
To everyone’s delight, an aban-
doned Bekins storage warehouse,
scheduled for demolition, re-
ceived “clemency” from the pro-
duction team, who arranged for
permission to use the facility. The
nearby building was just the right
size to accommodate the partial
pyramid which the set team con-
structed to appear to be almost
one mile high on the screen. Tons
of gravel and dirt were hauled in
to authenticate one set which
called for an expanse of planetary
debris and spaceship wreckage.
An entire planet surface was made
on another area within the storage
house. Also employed in the
making of this film was the intricate
Elicon System for special effects
shots. Special makeup and pros-
thetics by Thom Shouse, Kenny
Meyers and Al Appone also con-
tributed to the super-realistic
shock effects of the nightmarish
storyline.
electrical wiring is installed in the unfinished shell of a Galaxy of Terror backpack. Lower right, an actor models the finished backpack while waiting for a take. Bottom left, two
crewmembers make their way through the debris of crashed ships on the planet Morganthus. Photo insert, the Giger-esque Pyramid of Terror which challenges the unconscious
fears of the Quest's crew. Above left, the bi-level control deck of the spaceship Quest. Above right, Commander llvar is lowered into the opening at the apex of the pyramid.
Behind the Scenes
with Two
Members of the
NEW WORLD
SPFX TEAM
A Candid
Conversation with
TONY TREMBLAY
And
GENE TURNBOW
Interview by
KEN BUSSANMAS
FF: Tony, you're a fairly new
addition to the Roger Corman
team. How did you break into
special effects here at New World?
TREMBLAY: Actually I was very
lucky. I’d only done one film on
my own, Deception on Terra-Two.
Then I saw the Battle. Beyond the
Stars article in Fantastic Films
and decided to send my portfolio
to New World. It’s a great job and
I’ve never regretted a day that I've
worked here. It's a great feeling to
be able to get up in the morning,
go to work and do something that
you really enjoy.
FF: What is the creative atmos-
phere like at New World?
TREMBLAY: There were new
challenges almost every day. The
SPFX supervisors on the produc-
tion were open minded. They'd
listen to all our suggestions, then
give their own input. They would
let us do just about anything in
order to get the job done. One day
I built a miniature model and the
next I was helping with some of
the filming. I even did some ani-
mation in the docking bay. Of
course, if it had been a Union
shop I couldn’t have painted that
model or even have carried it into
the next room.
FF: Galaxy of Terror is New
World’s biggest budgeted film to
date. How much money actually
made it to the screen?
TREMBLAY: Quite a bit. Most of it
went into the production values
of the sets. The sets were really
beautiful and were much better
designed and better executed
than on previous New World films.
TURNBOW: We had a $2.5 mil-
lion budget, one of the biggest
New World has ever had. The sets
were great, even if they do look a
lot like the ones from Alien. But »
the studio got their money's worth I
out of them. In fact, some other “
excruciatingly low budget film was 2
also using them when we weren't. 5
The company was renting them ^
out at night. One of the GOT *
corridors even showed up on a
Chardon jeans commercial. 8
But the deadlines for shooting
were incredible. There were set S,
crews working around the clock 5.
for weeks to get some of the sets |
completed. The day crew would »
do construction and the night f
crew would come in and do fin- a
ishing work. It got so hectic that 5
sometimes we would literally be
building sets at one end while
camera crews were filming on the
other end.
TREMBLAY: Similar "deadline
insanities” were also the case in
the miniature effects department. 49
(Continued on page 54)
An Exclusive Interview with:
JIM STERANKO
Preproduction Artist on
RAIDERS OF THE LOST ARK
And Illustrator for Heavy Metal’s
Graphic Adaptation of OUTLAND
Interview by DOUGLAS RICE
m Some years ago you
f— m dropped out of the comics
Emm field to devote full atten-
tion to your Supergraphics publishing
company. What inspired you to return to
the field to illustrate Heavy Metal's
graphic adaptation of Outland ?
STERANKO: As far as Outland goes, .1
saw the project as a worthwhile one. I
liked the idea of what was essentially a
western plot taking place on a planet in
the very near future— even if there are a
number of holes in the script. There are
in almost any script. But, the idea was
entertaining and the film worked visually.
In terms of theme and imagery, it struck
me as being the first noir science fiction
film, somewhat in the ‘Chandleresque'
vein. A style/technique was so important
to me that I said if I couldn’t come up with
one that suited me, I wouldn’t take the
job.
FF: The final inkings of the drawings in
Outland are somewhat more angular than
your previous renderings. Were you
experimenting with new techniques?
Illustrations above: Four preproduction paintings by Jim Steranko which were done as character
and clothing studies for George Lucas when Raiders of the LostArkwas still in the planning stages.
Top right, Jim Steranko stands in front of some of his creations. Center, a panel from Steranko’s
50 Heavy Metal Magazine adaptation of Outland.
STERANKO: Outland is a very dark film,
in terms of characters and visuals. I tried
to find a style that would compliment the
story. As I was developing this idea, I
remembered something that I had seen
years ago on the wall of Dan Adkins’
studio. It was a clipping he had cut from
Life magazine that explored the deter-
ioration of a man's mind. The man had
drawn four portraits of a cat, done over a
period of maybe twelve years. The first
cat as very realistic. The second was
modified. The third was modified even
further, and the fourth one was com-
pletely fragmented; almost as if it were
shards of a broken mirror. The last cat
portrait was composed of a mass of
sharp points and angles; the softness of
line that appeared in the first portrait was
completely gone. This hard-edged fourth
drawing was the key to the Outland style,
equating to the atmosphere on lo which
is very harsh and paranoid. I tried to
incorporate into the style so that psycho-
logically it would affect the reader, just
as the cat picture artist was affected. I felt
it would subliminally influence the read-
er’s perception of the strip and the story.
FF : How did you settle on the one scene/
one shot approach in your panel layouts?
STERANKO: As for the double page
concept, I had 44 pages in which to tell
the story, and I thought that the device
would help lock it together.l hoped to
give readers the kind of familiarity that
audiences have when they face the wide
screen. The double-page device for the
Outland adaptation additionally acted
as what’s called a ‘master or‘establishing’
shot. The little panels are details, or
‘inserts’ in film terms showing character
development and dialogue advance.
There isn't a need to establish a scene
more than once on a page or a double
page. The comics are so small that no
matter where you look, the eye can per-
ipherally perceive all panels on the page
at once.
FF: Your preproduction work for the
Lucas/Spielberg film team-up of Raiders
of the Lost Ark was welcome news for
your fans.
STERANKO: The first Raiders painting I
did established the character of Indiana
Jones. There was really no actor dis-
cussed atthis point, at least notwith me. I
was told to produce a rugged, pulp-type
of hero who could appear to achieve the
kind of heroics that Indiana Jones is
involved in. As the film was being shot
and as dailies were coming in, some
material filtered back to America. I got a
call from Carol Titleman at Lucasfilm
who said, “You wouldn’t believe how
close the paintings are to the material on
the screen.” And I didn't, until I actually
saw the film. George, incidentally, was
very specific about the scenes he wanted
painted. I remember one amusing aside.
I got a note from George's secretary
describing Indiana Jones, which said
that Indy should have a jacket like
George wears. That was the only in-
struction. Fortunately, I knew what kind
of jacket George wears. It all worked out
very well. I perceived Indiana Jones as a
cross between Doc Savage and Hum-
phrey Bogart. I'm pleased I wasn’t far 51
from wrong. Raiders of the Lost Ark is
definitely my kind of movie.
FF: Other people have been saying
much the same thing about Raiders.
That they didn't think that kind of film
could be made anymore, because no-
body would buy it; but everybody is
buying it. They love it.
STERANKO: I have great faith in Steven
Spielberg. I think he's one of America's
finest filmmakers, certainly in the top few
working in the business today. If any-
body can do it, he can do it. And George
Lucas is quite a visionary. He's obvi-
ously a master filmmaker who has a
headful of surprises in store for us, just
as he gave us Raiders.
FF: With the Raiders experience under
your belt, has this in any way altered your
perceptions of film-making as a career?
STERANKO: Yes, it makes me want to
do film more than ever. My ultimate goal
is some form of film-making, perhaps
writing and directing. When I founded
Supergraphics in the late 60s, the idea
-was to parlay the money that was made
on a project like the History of Comics
into a bigger package and so on until
there was enough to back production of
one of my own films.
Over the years, most of what I've done
z seems to point in that direction. Prevue
magazine is about 75% film-oriented. It's
something that all. of us like; hard-core
comics fans included. I believe that.both
Lucas and Spielberg were somewhat
familiar with my comic work. Of course,
they are students of the pulp era. as am I.
Because I had done a number of pulp-
type properties, like The Shadow and G-
8 and His Battle Aces, it may have been
only natural for them to call me to do the
production illustrations for Raiders. As a
matter of fact. I'm hoping that George
asks me to work on the other. Raiders
films.
The reason I took the iob was to
contribute anything that I had to the
property. Neither of those gentlemen
really need much help, and it's a pleasure
working with the kind of professionals
who know exactly what they're doing.
FF: Are you interested in the area of
production design dr art direction?
STERANKO: I could get seriously in-
volved in production design. I can’t say
that I'm enthralled about straight story-
boarding, but I'd do it if the project was
right. I'd consider being involved in
creating the tone and atmosphere of a
film, doing a series of production illus-
trations right down to story-boarding.-
And I'll know it when it comes along.
FF: Though, as yet. you have received no
major film screen credit, your background,
abilities and creative aims make you an
ideal subject for an interview in a time of
transition in popular media. Anyone who
has followed your career knows you are
a man of many, talents: artist, writer,
designer, editor, publisher, historian,
spokesman, magician, escape artist,
musician and snappy dresser. Your
range of experience and expertise in
these areas (among others) at your young
age seems to be leading to something
on an even grander scale. Do you feel
this, or are you finally finding a com-
’fbrtable niche to develop fully?
STERANKO: I'm not sure anyone de-
velops well when they're comfortable,
least of all me. Development depends
largely upon pressure, either external or
internal, often both— like diamonds
develop from coal tar. To put ib simply, I
am most comfortable or fulfilled when
I'm experiencing the discomfort of the
birth of my ideas. That sensation is ulti-
mately the most satisfying.
A number of years ago. I felt that I was
living five separate lifetimes. I had five
careers going at once under different
names, and kept track of people from the
name by which they called me.
FF: In your work as a paperback cover
artist, you've done art for westerns,
fantasy. SF, and pulp-action/horror. I
think you’ll agree that, to date, your most
noteworthy efforts in this area are the
paintings you did for The Shadow reprint
series. I n some cases you not only had to
top the original pulp covers, but even
yourself when the volumes were restyled.
What are your impressions of the current
state of paperback cover art. and can we
expect to see more of your work in this
field in the near future?
STERANKO: Paperback illustration is
among the best art being produced
today. It's the last outpost of American
illustration.
Illustration at right: an unpublished scene from Steranko’s Chandler.
wum i
As far as my own work appearing
again on paperback covers, I think thab
may be an improbabijity. I retired com-
mercially about three years ago. I nc
longer take assignments, except when
they really appeal to me, like the Outland
job or the Raiders of the Lost Ark pro-
duction paintings. I am hoping, however,
that if the Shadow paperback series is
reinstated that I will be asked to par-
ticipate in the covers. I believe I still have
something to say along those lines. .I’d
like a shot at doing them again. I enjoyed
those paintings immensely. It was like
finding a time I had missed in the past,
like living again in 1938 and doing
something that I should and would have
done then— a second chance at a life
before this one. As a kid, I listened to The
Shadow on radio every Sunday for as
long as I can remember. I read the pulps
and the comics, and had a childlike
fantasy about someday adding to The
Shadow's legend. Years later, in a com-
pletely unrelated situation. I met Bruce
Elliott who wrote many Shadow novels.
We became very close in a kind of father
and son relationship. Then. I met Walter
Gibson who created The Shadow. He
was like Elliott's father, thereby making
him my grandfather. So, in a way, I am the
son of the son of The Shadow.
FF: Your first graphic novel, Chandler:
Red Tide, was the most impressive book
that Byron Preiss published. While both
Preiss and Morning Star Press have
made sincere efforts to sustain this
storytelling form, do you feel that the
graphic novel will have a chance to
evolve, like comics?
STERANKO: I don't believe comics
have evolved or matured, and I'm not
suggesting that they should either. The
form is exactly the same as it was 50
years ago. Intrinsically, it's a perfect
form, like an egg. That form can stay the
way it is. It’s the audience that grows up.
KContinued on page 62)B
Photos above: The New World SPFX crew at work and play on the set for Roger Corman’s Galaxy of Terror.
While we were still building the
docking bay for one scene, they
were setting lights all around it for
shooting. Theyactuallyfilmed the
shots before the paint was even
dry in some spots. Shooting
schedules were tight and things
had to happen that fast. Sets
would be built, then shot, then
torn down, then we were gone
because the lease would be up
on that building.
FF: What were some of yourother
SPFX projects for the film?
TURNBOW: Tony and I metwhile
building "backpacks” for the
actors. The packs were molded
out of fiberglass and took about
seven hours each to make. Orig-
inally they had tried to make them
in half an hour in one afternoon,
but failed miserably. Then they
tried to paint them and the paint
didn't dry. So they put on another
coat. Finally they decided to give
it up. They held the shots for the
next day and put us on the packs.
Tony and I were literally up all
night making them.
Incidentally, there is an inter-
esting story that goes along with
that project. The backpack we
had built for Erin Moran devel-
oped problems. We had built a
Geiger-esque pyramid set for the
planet sequence. Erin and a
couple of the crew were setting
up a shot on the catwalk above
the pyramid when Erin called
down and said that there was a
funny smell coming from her
backpack. I tore up the pyramid
and grabbed the pack out of her
hands. I opened the back to pull
the wires off the battery when two
bare wires (which weren’t sup-
posed to be bare) touched. There
was a very bright light for about
thirty seconds and a stench that
lasted for a couple of hours.
Another of my projects was to
construct the surgical tools for
the autopsy sequence. The props
they already had were rusty old
surgical tools that looked pretty
much like rusty old surgical tools.
So I volunteered to make them
more futuristic instruments out of
aluminum. I modeled them after
the tri-laser connector from the
Star Trek episode “Spock's Brain,”
Doctor McCoy’s scanner and
Doctor Who's sonic screwdriver. I
don't know how much you can
see them in the final cut of thefilm
but they’re there somewhere.
FF: It sounds like working at New
World can be as much fun as it is
hard work?
TURNBOW Yes, there is a lot of
fun, too. For example there was
this giant maggot construction
named Maggie. One day we put
her next to a van outside the
studio and took a photograph.
Floating around somewhere,
there’s a great shot of her peering
over the van, Them style.
Another funny thing |’|| always
remember about New World is
the graffiti on the bathroom walls
(laughs). It was all SF and horror
movie related with a variety of
dog and moose jokes such as
2001 Dalmations and Antlered
States.
FF: How many title changes did
the film go through?
TREMBLAY: First, Wwas Planet of
Horrors, but we were told never to
say that in front of the stars be-
cause they didn’t want to be
associated with a movie called
Planet of Horrors. So they were
told The Quest. Then it went back
to Planet. Then it was called Mind
Warp. Then back to Planet of
Horrors, until at the last minute it
was changed to Galaxy of Terror.
There may have been a couple
more in between there somewhere.
TURNBOW: It’s still a very 50's-
ish title but I hope people won't
hold that against it. It has a lot to
recommend it. It’s a much better
production that its predecessor,
Battle Beyond the Stars. I think it
will be well worth going to see.
JULIE CORMAN’S TOUR DE FARCE ON MODERN HORROR MOVIES
Article by BLAKE MITCHELL and JAMES FERGUSON
r he heirs to a dilapidated
old estate in Erie, Penn-
sylvania have a nightmare
coming when they disregard a
warning in the will and decide to
set up house, curse or no curse.
Forewarned not to tamper with
“a certain book” within the house,
John (Richard Benjamin) and
Mary (Paula Prentiss) toss all
superstition aside and cheerfully
make plans for their new resi-
dence. Theirchildren, Billy (Kevin
Brando) and Debbie (Kari Mich-
aelsen), regard the spooky prop-
erty with mixed feelings.
Strange noises beset the chil-
dren's calm, while the constant
presence of a weird couple parked
outside add to their fears. The
couple, Waldemar (Jeffrey Tam-
bor) and Yolanda (Nancy Lee
Andrews), both vampires, have
coveted the estate for years and
especially the notorious book
lying somewhere within. Devising
a plan to find the book, they wait
in their car as the trouble unfolds.
While wandering about the
house, Billy discovers a very old
book entitled "The Book of Evil.”
Naively, he opens its cover and
leafs through it. Intrigued by a
passage warning, “it gets worse
on Saturday the 1 4th,” Billy con-
tinues his musings, shocked when
the gruesome creatures depicted
inside suddenly vanish from the
pages. Horrified, Billy realizes too
54
late that he has unleashed all evil
into the world fora blood curdling
scenario on Saturday the 14th,
just days away. Hiding the book
in fear, Billy sets off to find a way
to remedy his mistakes.
Shortly, monsters of every vari-
ety start besieging the house. The
family members narrowly escape
several brushes with death, while
neighbors and associates are not
so lucky. John and Mary remain
undaunted, though by now Mary
sports a vampire bite, compli-
ments of Waldemar, whose unique
capabilities enable him to take
the form of a bat whenever his
needs press him to enter the
house.
A discovery of bats in. the attic
leads to a visit from Van Helsing
(Severn Darden) posing as an ex-
terminator. Also in pursuit of the
book, Van Helsing disguises his
true motives, wins the family’s
trust, and moves in to do his "job."
As strange occurences multiply,
Van Helsing suspects someone
of opening the book. After some
questioning, Billy reveals his mis-
take, adding that the book has
mysteriously disappeared. Van
Helsing orders a search' for the
book, eager to lay his hands on it
by the eve of the destruction to
come. Meanwhile, plans for a
house-warming party on Saturday
the 1 4th are set, adding to Van
Helsing’s fantasy of a perfect plot.
As Saturday night arrives, rela-
tives pour into the house, eager
for a snoop at the cursed place.
One by one, they meet with ghastly
fates as the night draws to a close,
while Van Helsing delightedly
prepares rituals for more fun to
come.
Suddenly appearing at the door
is Billy, with the book. At his side
are Waldemar and Yolanda, hop-
(Continued on page 6 )
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„ f the rocky horror picture show
From the Creators of THE ROCnv
Not A Sequel... But An Equal!
WE'RE GONNA TAKE O N,^ from Parley's Song
always knew there_ would be ajollowup W Jhe Rocky ^
/\/P I Picture Show. There s al ^^ ,f uthor / composer Richard O'Brien.
E VC ... Rides Again, jokes actor/auth ' f e shoWj he 1? very
^h^rTcomparingthe new him to The Rocky Ho it - s an equal.'
xjs indeed: "It's not a sequel v. f !!.. „mL Hmther. but notin all things. For
^herTcomparingthe new...... ru me . . . it's an equal."
,,.c indeed: "It's not a sequel ... it tber but not in all things. For
iock Treatment may be an equal to i faj scree n the way brother Rocky
ince it won't have to fight to come ® ff | d the res t of the gang made
Tn June 1973 Dr. Frankfurter Riff theat re in London as a
r first appearance ever in a 60 sea P b f oun d their way into the
— ’
page 0 20th Cer
1 977 there have never been fewer
than 200 prints in circulation, and
the film is still playing midnight
shows in many of the same the-
atres where it first opened three,
four and five years ago.
Shock Treatment is set in Den-
ton, U.S.A., a mythical suburban
community so dominated by tel-
evision that life itself has become
a TV show, complete with com-
mercial breaks. Our tour guides
through the madness of Denton
are Brad and Janet Majors. The
"perfect young couple” of The
Rocky Horror Picture Show visit
the station as innocent partici-
pants in a daytime marriage-
counseling show called “Marriage
Maze." It’s an apt title, for unbe-
knownst to Brad and Janet, they
have become unwitting pawns in
a twisted scheme concocted by
the station’s sponsor, a fast food
tycoon named Farley Flavors who
has “an old score to settle." Fla-
vors wants Janet for his own and
has to remove Brad from the scene.
He fixes the show to get Brad
committed to the town’s looney-
bin, Dentonvale, run by a pair of
crazy shrinks named Cosmo and
Nation McKinley and that's when
the fun begins. The film propels
the hapless couple through a
whirlwind of soap operas, med-
ical series and quiz shows, telling
us the couple’s story in the context
of the kinds of programs that have
addicted America to television.
Executive producer Lou Adler
credits the conception and reali-
zation of this vision of video-mania
to Richard O’Brien. “Richard's
imagination— that’s where every-
thing is — is the inspiration for
everything in Rocky Horror and
Shock Treatment," Adler states.
O'Brien's childhood fascination
with trashy horror movies promp-
ted him to write both shows.
“The real relationship between
Rocky Horror and Shock Treat-
ment is the consistent involve-
ment of the same creative team,”
says Jim Sharman. Sharman di-
rected Shock Treatment and co-
authored the screenplay with
O’Brien. O’Brien wrote the book
and the lyrics, composed the
music with Richard Hartley, and
plays a leading role in the film.
Lou Adler and Michael White are
the executive producers, the de-
sign is by Brian Thomson and the
costumes by Sue Blane. All were
previously involved in The Rocky
Horror Picture Show.
Newcomers to the team are Cliff
DeYoung and Jessica Harper,
who star as Brad and Janet.
O'Brien was instrumental in casting
DeYoung and Harper in the lead
roles. "Both Cliff and Jessica be-
gan their acting careers in the
Broadway production of Hair,"
explains O’Brien whose career is
also rooted in the musical stage,
“and we were determined that the
actors signed to play Brad and
Janetwould do theirown singing.
During the late 60’s Cliff had been
the lead singer with a very popular
rock group. Jessica was one of
the first people interviewed for
58
Photos, from top down: singing an ode to the wonders of shock
treatment are left to right, Patricia Quinn, Manning Redwood, Jessica
Harper, Barry Humphries, Darlene Johnson and Nell Campbell.
Charles Gray and Ruby Wax are the commentators on “Denton
Dossier,” the high-brow discussion show on a bizarre TV station.
Jessica Harper and Cliff DeYoung are Janet and Brad Majors, the
typical suburban couple. Richard O’Brien and Patricia Quinn, are
Cosmos and Nation McKinley the head quacks of a bizarre sanitarium-
the part of Janet. What sold us on
her, as against all the others, was
her wonderful singing voice."
Vocal ability, vital though it was
to the selection process, repre-
sented only part of the problem
O’Brien, Sharman and the pro-
ducers faced in casting the leads
of the show. "The dual role of
Brad/Farley called for a special
kind of versatility," comments
O’Brien. “It is actually two sides of
the same character and the actor
we chose had to be capable of
that kind of 1 80 degree range.”
"For Janet, we wanted an ac-
tress who was able to convey the
qualities of a wholesome ’girl-
next-door 1 on the surface and tap
the uninhibited woman under the
skin.” Jessica also had the factor
of genre identification working
on her behalf. She had appeared
in two cult hits, the scary Suspira
and another rock-shocker, Phan-
tom of the Paradise, with singer
Paul Williams.
For Cliff DeYoung, his dual role
in Shock Treatment is an actor’s
dream: he gets to play the hero,
Brad and the villain Farley Flavors.
“I modeled Brad after David
Eisenhower," DeYoung reveals.
"Brad, with his clean-cut innocence
and Mr. Squeak-Clean-America
looks, is straight out of the 50’s."
"But Farley is definitely not Mr.
Clean. He’s a snake-oil salesman
with slicked-back hair who fine-
tunes the fates of Brad and Janet
to serve his own evil purposes.
He’s the great program director
in the sky who makes everything
happen."
Through Farley Flavors’ Mach-
iavellian plotting, Janet Majors
becomes Denton TVs newest
screen face. With her Ozzie and
Harriet upbringing, it should be a
dream come true.
“Janet is definitely Little Miss
Middle-Class,” according to Jes-
sica. "She’s lived her whole life in
kind of a little frilly doll house, and
Brad is the ideal mate for her."
"In the first movie, Janet was
loyal to Brad but also interested
in exploring the bizarre world of
Transylvania that she and Brad
stumble onto. Similarly in this
movie, she is still loyal to Brad but
really loves being on television
and doing all these odd things
with all these odd people and
she’s not at all reluctant to leap
into this new role of TV superstar
that’s being offered to her. She
discovers that she really is a
naughty little girl."
"Jessica understood the irony
of the film,” states O’Brien elab-
orating on his reasons for selec-
ting Harper to portray Janet. “It’s
a difficult thing for some American
performers to be objective about
television and the whole under-
side of pop stardom. But Jessica
had no trouble at all with the
irreverence of our script."
Like Jessica, the multi-talented
O'Brien has no qualms about
being irreverent. Proof of that is
his appearance in the stage and
screen versions of Rocky Horror
where he played Riff Raff, the
(Continued on page 6 )
If** 5 '
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Paul Schrader's Cat People,
Ridley Scott’s Blade Runner, and
the filming of Peter Straub’s
Ghost Story.
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Heavy Metal ; Introvision; Raiders
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N.Y.
SWAMP THING
(Continued from page 1 3)
usual heavy and bulky protective
suit used in most such ‘human
torch’ scenes, but applied a
special gel to his skin to protect it
from the flames. When Craven
called for ‘action,’ Tony slammed
through the church’s doors, fell to
the ground, ran through 50 yards
of forest and plunged himself into
the swamp waters. The crew went
wild with applause! He had to do
the entire thing over for the in-
terior shot of the lab and received
an equally enthusiastic reaction
from everybody!"
The dangerous stunt work in
Swamp Thing was only a small
part of the problems faced by the
production company. Filmed in
places such as Cypress Gardens,
Fairlawn Plantation and Magnolia
Plantation in South Carolina, the
film was guaranteed an eerie and
moody series of ready-made sets,
perfect for what Craven and the
producers were seeking for
Swamp Thing. However, with
abundant swamplife surrounding
them, the Swamp Thing crew
were constantly plagued by alli-
gators, and a variety of poisonous
snakes and other creatures. With
the possible exception of some
poison ivy and mosquito bites,
the crew escaped the areas with-
out harm.
“The swamps were incredible,”
remarks Uslan, "and they helped
cause many delays by just having
to haul everyone out there day
after day. Adrienne Barbeau did
some of her own stunt work and
during a sequence where Ferrett
(Hess) was attempting to push
her out of a boat, he fell into the
swamp. We lost a half day of the
shooting schedule waiting for
him to wash up and dry off.”
While Swamp Thing's “look,”
thanks to the incredible Bill
Munns’ costume, is an exact re-
creation of the image invisioned
by Wrightson in the DC Comic,
the producers were still looking
for a “new" monster for their film.
The opportunity came with the
film version incarnation of Arcane.
While human in appearance in
the early stages of the movie,
Arcane’s evil wizardry leads to his
transformation into a creature
who is as equally startling as
Swamp Thing himself.
The original second appear-
ance of Arcane in the 1 0th issue
of Swamp Thing's comic book
adventure,, has the evil madman
looking like one of Dr. Franken-
stein’s rejects. While horrifying in
its own right, it wasn't what Uslan,
Melniker and Craven were look-
ing for. They found their image in
Munn’s Arcane monster costume
which is “ ... a combination of
Lion, Lizard and Warthog,” says
Uslan.
Uslan is fond now of remem-
bering the trials he experienced
with Swamp Thing now that the
film is going through its final post-
production work. “As co-producer
I learned that getting the backing
for a film is the easy part! Working
on location, with extensive props,
a cast and crew consisting of 1 25
people and numerous vehicles
can cause more headaches than
I ever imagined. Having people
put up money for a film is easy
compared to coordinating all of
that plus being responsible for
such things as having food for
everyone on location at 12:30
instead of 12:40!”
Despite the problems, Swamp
Thing came in with a modest
budget of $2’/2 million, “But it
looks like quite a lot more,”
claims Uslan. “It was an exercise
in cutting corners so more of the
money could go to increasing
our production values."
Uslan and Melniker's close
attention to all details of Swamp
Thing, from Bill Munns' costumes
for Swamp Thing, Arcane and
Bruno, to Henry Manfredini’s
Swamp Thing musical score,
makes one believe that these
men are demanders of quality,
and increases one's desire to see
their efforts.
If the $2V 2 million production of
Swamp Thing meets the promises
of these co-producers, then the
$24 to $30 million budgeted for
the Melniker/Uslan production of
Batman should provide fora spec-
tacular version of the Darkknight
Detective.
The obvious love Uslan expres-
ses for the film and comics
mediums sparks two final ques-
tions for the new co-producer. The
first one is whether Uslan feels that
he might be limiting himself by
sticking to comic-related proper-
ties only. “Well, we’re not, actually,"
points out Uslan. “We have at least
four other projects already in the
works that are completely non-
comics-related!”
The second question rises out of
the fact that in Swamp Thing #7,
published in 1 973, Swamp Thing
crosses paths with The Batman.
And, on various other occasions,
SwampThing has co-starred in DC
Comics’ Batman team-up title Brave
and the Bold. Since Batman and
Swamp Thing are both owned by
DC Comics, a division of Warner
Publishing of Warner Communi-
cations; and since Melniker and
Uslan are producing both Swamp
Thing and Batman, will fans soon
see the Marsh Monster teaming
with the Avenger of the Night in a
forthcoming film?
“No," Uslan explains, "because
Swamp Thing is being done by
Avco-Embassy while Batman is
being done directly for Warner
Brothers— two entirely different
companies.”
“A better question," muses
Uslan with a sly smile, “is that
since Batman and Superman are
both being done by Warners, will
there be a teaming of these two
super-heroes on the screen?"
Now that really is a “comical"
question ... ■
PRICE-ltss
f incent Price Master of macabre,
scare the YELL out of you in
Roger Corman classic treatments of
Edgar Allen Poe
FALL OF THE HOUSE OF USHER
| THE PIT AND THE PENDULUM
TALES OF TERROR ^
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STERANKO
(Continued from page 53)
and as it grows, it needs a different kind of comic
book. That’s where visual novels come in.
I’ve been disappointed that most visual novels
haven't really been ‘adult’ in nature. They don't
deal with adult themes in an adult way. I am not
talking about sex, blood and violence; that’s still
kiddy stuff. I’m talking about perhaps adapting
classic or contemporary literature into visual form,
or creating material that is the equivalent of it.
Most visual novels have been science fiction,
sort of super comics, although they are, in some
cases, very sophisticated and beautifully done.
The printing is much beyond what we get in the
ordinary newsstand comic book. It’s the subject
matter itself that has not matured.
FF: Your publishing company Supergraphics was
originally intended to publish your own graphic
novels, but went on to produce the initial two
volumes of The History of Comics and develop the
COM IXSCEN E/M EDI ASCEN E/PR EVUE line of
periodicals, all devoted to promoting the work of
others. Has the effort in establishing a publishing
concern in your own mold ultimately prevented
you from benefiting from it creatively?
STERANKO: I am extremely gratified by show-
casing the work of others. I have no Steranko art
hanging in my studio and home. I prefer the work
of other artists. Although much of my art was
involved in' various publications I’ve produced
overthe last 1 2 years, in many cases it was a matter
of expediency.
As an editor or an artist, my sensibilities are
primarily directed to the work I sense as being
worthwhile and fulfilling to the contemporary
audience. I try to make those judgements not only
for myself but with the readers and viewers in mind.
And, until they are no longer interested in that
judgement, every page will continue to be made
from equal parts of Steranko blood, sweat and
tears. ■
62
A LOU ADLER- MICHAEL WHITE PRODUCTION OF A NEW RICHARD O'BRIEN MUSICAL
i'I'jIU j S; j'.irjrl O/JJJ:
y.udi / rl'jf'f'ji' I'i'U'h : jJIUV/
TWENTIETH CENTURY FOX PRESENTS JESSICA HARPER CLIFF DE YOUNG "SHOCK TREATMENT" Co starring PATRICIA QUINN
RICHARD O'BRIEN CHARLES GRAY NELL CAMPBELL RUBY WAX and BARRY HUMPHRIES Musk RICHARD HARTLEY and RICHARD O BRIEN
Book and Lyrics RICHARD O BRIEN Screenplay by RICHARD 0 BRIEN and JIM SHARMAN Additional ideas 8RIAN THOMSON
Executive Producers LOU ADLER and MICHAEL WHITE Produced by JOHN GOLDSTONE Directed by JIM SHARMAN
PGi PARENTAL GUIDANCE SUGGESTED ESSf QDIdolBY STEREO TECHNICOLOR® ORIGINAL SOUNDTRACK AVAILABLE I j
SCMt MATERiAt MAY NOT 9C SUITABLE FOB CMrCOREN ;N SELECTED t|iEAT HE 5 @198' T WENTIE 'K CENTURY F OX J®
THERE’S MAGIC
BREWING DOWN
HERE... I CAN
ALMOST TASTE
IT!
DON'T LOOK AT
ITS EYES OR yOU’LL
SLEEP FOREVER!
FORBIDDEN BY THE PEOPLE OF
THE LOWLANDS, AURIC', TIRRA
AND THE WIZARD, KHELLEK ...
■
“ DUIGEOIS & MMOflS "
ADVENTURE
ENTER THE RUINED DUNGEONS OF ROAKIRE
ABANDONED CENTURIES AGO BY A
MYSTERIOUS RACE. AURIC ADVANCES
AHEAD WHEN SUDDENLY FROM OUT
SOMETHING BEHIND
ME! A JACKALWERE!
THE HUNGRY LYCANTHROP
MONSTER LUNGES FOR
KELLEK WITH SHARP FAN 6 5
AND CLAWS!
EXPLORE EXCITING WORLDS OF
FUN, FANTASY & ADVENTURE WITH
DUNGEONS & DRAGONS® AND
ADVANCED DUNGEONS & DRAGONS™
ADVENTURE GAMES. SEND IN YOUR
COUPON TODAY FOR YOUR FREE COLOR
CATALOG OF GAMES & ACCESSORIES.
SEND TO TSR HOBBIES INC., POB 756
DEPT. 170, LAKE GENEVA Wl 531 47
PLEASE SEND A CATALOG TO
NAME
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